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):


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


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:


Turret board wiring example:


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”.


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




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.”


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.


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.


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.


Why Do Tube Amps Sound Better… or Do They?

Many guitarists, especially those that play rock, blues, or country music, seem to agree that “tube amps sound better”.  Almost all guitarists would agree that given the same rated output power, that “tube amps sound louder”.  A 30W amp tends to sound louder than a 65W solid state amp.  Of course, for some types of music, solid state is the preferred amp, and it’s for very reasons that tube and solid state amps sound different.   A jazz guitarist who is not going to overdrive his amp may like the cleans that solid state amps offers.  A metal guitarist or “shredder” may like the very overdriven tones that solid state amps produce that make them so very different than tube amps.

Why do so many think tubes sound better?  I am one of them.

Here’s why:

Guitar amplifiers are often severely overloaded by signal transients, (THD 30%), especially in today’s world of high output pickups and pedals. Under this condition there is a major difference in the harmonic distortion components of the amplified signal, with tubes, transistors, and op-amps separating in distinct groups.

Op-amps produce strong third, fifth, and seventh harmonics when driven only a few dB into overload.  The resulting sound is metallic with a very harsh edge, which the ear hears as strong distortion. Because the sound may be objectionable, op-amps are rarely operated in their saturated region.  This results in a very clean amplified sound with little coloration and true dynamic range (within the limits of the amp).  This dynamic range is not necessarily a good thing, because of the limits of the rest of the system.  The top end of the dynamic range contains transients, but lacks solid pitch information.  The result?  Clean, but perhaps sibilant and cymbally.  Colorless.  Dull.  Perhaps you don’t want your amp to “color” your sound.

Transistors produce buzz or white noise when severely overloaded, caused by the edge produced by overloading on transients, mostly seventh and ninth harmonics. The ears hear this dissonance as noise. Another factor is a lack of “punch” due to strong third harmonics, a kind of blanketing of the sound. Transistor amps exhibit a strong third harmonic when driven to overload, producing that blanketed sound.  This sound, compressed lack of punch, and strong odd order harmonics, may be what some guitarists are looking for.

Tubes generate a whole spectrum of harmonics when overloaded, particularly the second, third, fourth, and fifth, to give a very full bodied sound.  Tubes also differ from op-amps and transistors in that they can be operated in the overload region without adding objectionable distortion.  A slow rising edge and open harmonics combine to create an ideal sound.  Within the 15-20 dB overload range, the electrical output of the tube increases only 2-4 dB, creating a natural compression.  Since the edge is increasing within this range, the subjective loudness remains uncompressed to the ear.  It is this effect cause tube amps to have a higher apparent volume level not indicated on a volume (VU) meter.

Tubes sound louder and have a better signal-to-noise ratio because of the extra subjective headroom that transistor amplifiers do not have.  Tubes get their punch from their natural overload characteristics.  Since loud signals can be reproduced at higher levels, the softer signals are also louder.  This is the famous “sweet spot” that tube amps exhibit.  Strong second and third harmonics give a feeling of a more natural bass response.

The sweet spot will sound loud clean and full, and exhibit wonderful touch sensitive dynamics that follow the guitarist’s playing dynamics.  Roll back the volume control on the guitar or play softer, and you get the full, rich tone at a quieter level.  Dig in, or roll up the volume control, and now you have that natural, sweet, singing tube overdrive that we love so much as guitarists.  This is why we love tube amps!

Notes on harmonics. The primary color characteristics of an instrument are determined by the strength of the first few harmonics.

  • Odd harmonics (3rd and 5th) produce a stopped or covered sound.
  • Even harmonics (2nd, 4th, & 6th) produce choral or singing sounds.

The second and third harmonics are the most important.  The second, an octave above the fundamental, adds body and makes the note sound fuller.  The third harmonic is a musical 12th.  Instead of making the sound fuller, it blankets the sound and makes it sound softer.  Adding a fifth harmonic to a strong third gives the sound a metallic quality that gets increasingly annoying as the volume increases.  A strong second with a strong fifth tends to open up the covered effect that the third induces (this is usually what we want).  Adding fourth and fifth to this will change the sound to an open horn like sound.

Higher harmonics, above the seventh, give edge or bite to the sound.  As long as this edge is balanced, it will reinforce the fundamental and give a sharper attack quality.  Too much of the higher harmonics- seventh, ninth, eleventh – will give that raspy, dissonant kind of sound.  The human ear is sensitive to the edge harmonics.

The major characteristic of tube amps is the presence of strong second and third harmonics, sometimes in concert with the fourth and fifth.  Remember, a strong second with a strong fifth tends to open up the covered effect that the third induces, and strong second and fourth harmonics help create that singing sound we all love so much in our tube amps.

Are You Sure Leo Done It This Way?

Leo Fender was a tireless innovator, and his tube guitar amps set the standard for the industry that continues today.  Many companies make clones or clone kits of classic 1950s and ’60s Fender amps; many try to be exact copies.  Most current production tube amps use circuits based on, or very similar to, those that Leo Fender tweaked over half a century ago.  Of course, tube circuits predate Leo’s amps, and he paid license fees to Western Electric on many of those 1950s amps for using their circuits.  A triode preamp circuit is a known quantity, and there are only two or three different variations of the basic stage one preamp.  The layout is one thing, it’s how you voice those tube preamp and power circuits that shape the tone or sound of the amp.  But what about the components of the amp build?  Do you need “vintage” components in a vintage-style amp?

Carbon Composition Resistors

Many boutique amps and vintage amps and kits use carbon comp resistors. Why?  Well, that’s what Leo used, and those amps have that long sought after sound.  Modern resistors are carbon film or metal film, and most modern amps don’t sound like a tweed Deluxe or Bassman.  Leo didn’t use those, and many people want the look and sound of a carbon comp resistor, because that’s what the vintage amps had.  But, wait a minute, there’s more to it than that.  Do carbon or metal film resistors sound the same as carbon comps?

What does a resistor sound like?  Nothing, unless you drop it on a hard floor in a quiet room.  Tube amps are built on basic math- multiplication and division.  Current equals Voltage divided by resistance.  Put a 100,000 ohm resistor on that 300 volt DC supply and it works out to 0.003 Amps, or 3 milliamps (300 / 100,000 = 0.003).  So, what’s the difference between a carbon comp 100K 1/2 Watt resistor and a 100K 1/2 Watt carbon film resistor or metal film resistor, and what are the assets and liabilities of each one?

Carbon comp resistors look cool.  They’re brown with colored stripes around them, and they look (and perform) just about exactly like those ones in Leo’s 5E3 tweed Deluxe or 5F6A Bassman, so they must be good.  Leo used them (so did other amp builders of that era).  OK, so why did Leo use them?  Here’s a real shocker.  He used them because it was what was available, and the price was right.

Carbon comp resistors have know qualities.  Among these are poor stability, with at best a +/- 5% tolerance, and it’s usually wider than that.  They will change value when stressed with over-voltages, and if internal moisture content (from exposure for some length of time to a humid environment) is significant, soldering heat will create a non-reversible change in resistance value.  Outside of guitar amps, they’re rarely used because modern resistors have better specifications, such as tolerance, voltage dependence, and stress. Carbon comp resistors also cost more today than carbon or metal film.

On the other hand, carbon film resistors have a working voltage of up to 600 volts, and have operating temperatures of -55C to 155C (-67F to 311F).  If your amp ever gets that hot or cold you will have other issues besides resistor performance!  Metal film resistors typically have a 1% tolerance, and possess good noise characteristics and high linearity due to a low voltage coefficient, and they’re very stable.

I like to use rugged MIL-SPEC, low noise, 1% tolerance, high temperature, 500V metal film resistors.  I also use commercial metal film and carbon film resistors. I use some carbon comps, but mostly to satisfy the desires of vintage amp buyers, not for any performance reasons.  The way I see it, if Leo Fender was alive today and building amps, he would use 1/2W carbon film resistors in his amps, because they are the lowest price resistors that have the right electrical and mechanical characteristics.

Cloth Wire

Old Fender amps and guitars (and most old amps and guitars) used this cool cloth covered wire.  Why?  Pretty much for the same reason that they used carbon comp resistors. It was cheap, it had the right characteristics, and it was what was available.

Today, we have much better wire. We have silver-plated, MIL-SPEC aerospace grade, Teflon coated, 600V, 200C wire.  It’s easy to work.  It’s flexible yet holds its shape, it takes solder well, and is small diameter, which is helpful in a cramped chassis.  It’s also pricey.

Less costly is the MIL-SPEC Tefzel coated, tin plated wire. It has similar ease of solder and work characteristics of the Teflon wire, is rated 600V, 150C, and is about half the cost of the above named Teflon wire.  We also have high-temperature MIL-SPEC PVC wire, which has many characteristics of the Teflon wire – takes solder easy, easy to work, small diameter, and is rated 600V, 105C, for about 1/3 the cost of the MIL-SPEC Teflon wire.

There is a new cloth wire out for those who prefer the vintage look.  After all, you may want to show off the wiring in your amp.  This has a cotton cloth braid over a 600V, 105C PVC insulated wire. It’s much easier to work with that the old-style cloth wire, and has superior performance characteristics to the good PVC wire, although it’s still not as easy to work with as the Teflon or standard PVC wire.

Use the new cloth-covered PVC if you absolutely must have the look of cloth wire in your amp, otherwise use a high temp PVC, Teflon, or Tefzel wire.  It’s also the same price as the aero-grade Teflon wire!  Don’t use any PVC or other wire that’s rated less than 600V or 105C.  85C wire has no place in a guitar amp.


I’m not sure I want to open this hornet’s nest, but here goes.  Capacitors are used as power supply filters (to reduce AC ripple in the DC power supply voltage), to block that same DC voltage from the AC signal path and couple tube gain stages together, and to bypass tube cathodes so that the amp gets the desired sound and gain.

Many of the capacitors Leo used aren’t available today.  Electrolytic capacitors are used as filter and bypass caps, and the ones we have today are very good. I use high quality European made electrolytics.  The controversy comes in when people talk about coupling caps.  The ones that Leo used aren’t made anymore.  No surprise.  There are lots of things from the 1950s that aren’t made anymore, and in spite of nostalgic dreams, much of what we have today is better. Televisions today not only outperform the old tube sets, they cost less.

Some companies today sell very expensive vintage style capacitors, and lots of people buy them.  You can easily find $120 .022 tone caps for you guitar, but a $0.79 Radio Shack ceramic disc will give you the same sound. The only signals that go through tone caps is shunted to ground!  You never “hear” any of the signal that goes through the tone cap.  One company makes vintage size electrolytic caps that are nothing more than a modern small size cap placed inside a larger container! They cost more, of course.

I like to use high quality Mallory 150 coupling capacitors.  Mallory 150 has always set the standard for top quality metalized polyester film, high voltage axial coupling capacitors, and that’s what I like to use.  I use high quality ceramic disc capacitors in tone and oscillator circuits.  I tend to stay away from orange drop polypropylene types.  These caps came into guitar amps in the 1960s, and are the heart and soul of the 1970s CBS Fender silver faced amplifiers.  They’re very stable, that’s the good part.  They were cheap in the ‘60s and ‘70s.  They’re stable and cheap and that’s why amp builders used them, not because they had superior sonic characteristics.  If you can find one, look up an old TV repairman and ask him if orange drops give a TV a better picture that a metallized polyester cap.  He’ll probably look at you as if you’re totally nuts.

In Summary

I build vintage-style amps.  To my ears and to the ears of those that play and hear them, they sound very good.  They have that vintage amp sound- the breakup, the tone, the dynamics, and the touch-responsiveness that make those 1950s tweed amps so much revered.  I get that sound by tweaking the component values while using modern high-quality components that offer better characteristics than the old-style components.  I don’t get that sound using vintage style carbon comps, orange drops, and cloth wire.

If you want the old-school components, I’ll make it that way.  It will certainly make it more “vintage”… and it will make it more expensive.

Texas Tone 12 Public Debut

The Texas Tone 12 had its public debut last week, at an outdoor gig by Rosie and The Ramblers at Freddie’s Place in south Austin.  I was concerned thaTexas Tone 12t, being a small tweed type amplifier surrounded by a full band, it wouldn’t be able to produce enough volume. I was wrong in that concern.  Rosie and The Ramblers didn’t play at ear-splitting volume, but more of a listening level show.  Usually, each of the Ramblers’ two guitarists play through Fender Blues Junior amplifiers.  On this night, John Winsor had agreed to play the Texas Tone 12 after playing though it on a demo session several days earlier.  He still brought his Blues Junior just in case.

John set up the Texas Tone 12 on the stage next to Schley Barrack’s Blues Jr., and put the tremolo footswitch on his pedal board.  After a few minutes of tweaking and sound checks, the Ramblers were ready to go.  After the first song, which sounded very good, I asked them to turn up Rosie’s vocals. She’s an expressive singer with a strong voice, and I wanted that to come through the mix.

The Texas Tone 12 did more than hold its own. John and Schley, who both play Fender Telecasters, trade lead and rhythm parts, and sometimes play harmony lead lines.  Both are very good guitarists.  Schley handled the Albert Lee parts in Emmylou’s Luxury Liner just fine.  John sometimes keeps his leads on the mellow side, but occasionally lets that biting Tele twang come through.  Not only did the lead parts sing through the Texas Tone 12, but the rhythm parts didn’t get lost.

John was quickly able to find the amp’s ‘sweet spot’, which in this case had the volume on 12 and the gain at 6 or 7. At that setting, he could easily play clean or overdriven tones, depending upon his picking style and his guitar’s tone and volume settings.  According to John, “It is really responsive, breaks up nicely, and gives a great warm/slightly-compressed overdrive.”

Playing a mix of country standards and original material, the tonal response of the Texas Tone 12 shone throughout.  Winsor and Barrack were both impressed with the richness of the amp’s tremolo circuit.  Winsor again, “man, that tremolo sounds sweet! There were a couple of those ballads where Schley and I both heard it and gave the thumbs-up!” Rosie, also did not escape those sweet tremolo sounds.  After one of the songs, she said, “How did you like that!” with a smile and a nod of approval.

Overall, it was a good first outing.  John Winsor’s thoughts on the amp, “Your Texas Tone sounds great! I think it is an excellent amp… I wouldn’t change a thing about it.”