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ÊThe Guitar Amp Handbook: Understanding Tube Amplifiers and Getting Great Sounds Updated EditionÊ brings fresh information to the table to help guitarists. The Electric Guitar Amplifier tvnovellas.info - Download as PDF File .pdf), Text File .txt) or read online. Mullard Circuits for Audio Amplifiers. Uploaded by. Documents Similar To The Electric Guitar Amplifier Handbook - J. Darr (Sams, ) WW. Mullard Circuits for Audio Amplifiers. Uploaded by. Richard Smith.
Basic Theory and Applications of Electron Tubes , Departments of the Army and Air Force, , pages This is an excellent, relatively modern text on vacuum tubes. Very practical, not too much math, and it has some very nice illustrations. Very specific to tubes, discusses how they work, how they're built, and circuits. Keats A. Pullen, , pages This book presents a method to design tube amplifier stages using curves of constant grid-to-plate transconductance and plate conductance. Equations and step-by-step instructions are provided to select the correct tube, calculate gain and distortion, and other relevant parameters. Full sets of curves are provided for 35 different tube types.
Quite interesting, this book covers material I've not seen comprehensively discussed elsewhere, like failure mechanisms, what makes a "premium" tube special, etc.
Describes graphical design methods for tube circuits as opposed to equation-based design.
Sections on reactive loads and balanced amplifiers that discuss topics not seen in many other texts. I wish I could read Dutch. This book by Philips appears to be a nice thorough treatment of how vacuum tubes work, how they are built, and how they are applied in radio circuits. Some very nice photos of tubes in various states of disassembly.
A detailed technical discussion on the materials used to make vacuum tubes, including glass, metals, and ceramics, as well as the interfaces between them.. Nice photos of "Appealing Substation Buildings". Wagener, - Thanks to anonymous donor This 2-volume set is a very comprehensive treatment of the theory and manufacture of oxide-coated cathodes for tubes.
Strangely enough, volume I covers more practical aspects, and volume II is mostly physics Seachable DJVU file 2. Seachable DJVU file 3. Bruining, , pages - Thanks to Justin Carmichael A very detailed look at secondary electron emission in vacuum tubes Principles of Electron Tubes , Herbert Reich, , pages Essentially an abridged version of Reich's "Theory and Applications of Electron Tubes" below , this is a college-level text on vacuum tubes.
It doesn't have so much math in it to be hard to understand; though it presents plenty of equations, it also shows graphical solutions that the DIY'er could use. One of the best books I know of to learn enough about how tubes really work to be able to design with them. A comprehensive text on tubes, how they're made, how they work, and applications circuits. Covers tube testers in some detail, as well as early television circuits.
Langford Smith, , pages The quintessential vacuum tube design handbook,. This is the older, and smaller, third edition Covers all the essential of tube electronics design, including the basics, tube theory, load lines, amplifier design, etc. Langford Smith, , 1, pages!
Guitar Amplifier Electronics: Basic Theory. Richard Kuehnel. The Tube Amp Book: Deluxe Revised Edition. Aspen Pittman. Review Dave Hunter clearly separates true mojo and fact from hype and marketing fiction Every guitar player should read this book! Read more. Product details Paperback: Backbeat; Updated edition May 1, Language: English ISBN Tell the Publisher! I'd like to read this book on Kindle Don't have a Kindle? Share your thoughts with other customers.
Write a customer review. Read reviews that mention tube amps dave hunter guitar amp great book guitar players build subject understanding electronics vintage check circuit includes interviews knowledge learn practical solid.
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Please try again later. Paperback Verified download. Look, right across the board, eleven, eleven, eleven and By that definition, The Guitar Amp Handbook is the ultimate handbook for guitar amps. Once you own it, you will reference it ongoing for a lifetime. Comprehensive, smart and guaranteed to answer any question on the subject, this book is poised to be the authority in guitar amplification reference books. Author Dave Hunter leaves virtually no stone unturned. Guitar players, amateur or professional, will benefit by a deeper understanding of what makes tube amps tick.
If you want to delve deep into the engineering aspect of amplifiers - even making your own - this is the book. The section of interviews entitled "Meet the Makers" is solid gold with insights and perspectives on history, theories and anecdotes, and addresses the right questions. Early on, Author Dave Hunter proposes a practical, simple test for your next visit to the local guitar shop: Plug and play the most expensive guitar into the cheapest amp, and then reverse the process by plugging the cheapest guitar into the most expensive amp.
The result? The amp is the secret to your success.
The sonic epiphanies with astound you. A note on book design and layout: There are no editing mistakes, which can frustrate the reader I have found them even with major publishing houses. To further that idiom, I would say your pearl is also your perception in the amp world Very well written book on tube amps, their history, operation and theory.
Got the book from the local library and liked it so much, I ordered it from site. Realized this is gonna take some concentration to grasp what the author is teaching. Not a hard or ultra complex read, it is just such good info on the subject, I really want to take my time with it. I live vintage guitars, amplifiers and gear - this book is perfect for that.
Power amplifiers are of the push-pull type to avoid the inefficiency of Class A amplifiers. A single-ended amplifier will generally produce even as well as odd harmonics. Push—pull tube amplifiers can be run in class A rarely , AB, or B.
Also, a class-B amplifier may have crossover distortion that will be typically high order and thus sonically very undesirable indeed. Class-A amplifiers measure best at low power. Class-AB and B amplifiers measure best just below max rated power.
Loudspeakers present a reactive load to an amplifier capacitance , inductance and resistance. This impedance may vary in value with signal frequency and amplitude. This variable loading affects the amplifier's performance both because the amplifier has nonzero output impedance it cannot keep its output voltage perfectly constant when the speaker load varies and because the phase of the speaker load can change the stability margin of the amplifier.
The influence of the speaker impedance is different between tube amplifiers and transistor amplifiers. The reason is that tube amplifiers normally use output transformers, and cannot use much negative feedback due to phase problems in transformer circuits. Notable exceptions are various "OTL" output-transformerless tube amplifiers, pioneered by Julius Futterman in the s, or somewhat rarer tube amplifiers that replace the impedance matching transformer with additional often, though not necessarily, transistorized circuitry in order to eliminate parasitics and musically unrelated magnetic distortions.
This circuitry increases the amplifier's output impedance, resulting in response similar to that of tube amplifiers. An amplifier with little or no negative feedback will always perform poorly when faced with a speaker where little attention was paid to the impedance curve.
Design comparison[ edit ] There has been considerable debate over the characteristics of tubes versus bipolar junction transistors. Later forms of the tube, the tetrode and pentode , have quite different characteristics that are in some ways similar to the bipolar transistor.
But there are exceptions, for example designs such as the Zen series by Nelson Pass. Output impedance[ edit ] Loudspeakers usually load audio amplifiers.
In audio history, nearly all loudspeakers have been electrodynamic loudspeakers. There exists also a minority of electrostatic loudspeakers and some other more exotic loudspeakers.
Electrodynamic loudspeakers transform electric current to force and force to acceleration of the diaphragm which causes sound pressure. Due to the principle of an electrodynamic speaker, most loudspeaker drivers ought to be driven by an electric current signal.
The current signal drives the electrodynamic speaker more accurately, causing less distortion than a voltage signal. Practically all commercial audio amplifiers are voltage amplifiers.
Due to the nature of vacuum tubes and audio transformers, the output impedance of an average tube amplifier is usually considerably higher than the modern audio amplifiers produced completely without vacuum tubes or audio transformers.
Most tube amplifiers with their higher output impedance are less ideal voltage amplifiers than the solid state voltage amplifiers with their smaller output impedance. Soft clipping[ edit ] Soft clipping is a very important aspect of tube sound especially for guitar amplifiers. A hi-fi amplifier should not normally ever be driven into clipping.
The harmonics added to the signal are of lower energy with soft clipping than hard clipping. However, soft clipping is not exclusive to tubes. It can be simulated in transistor circuits below the point that real hard clipping would occur. See "Intentional distortion" section. Large amounts of global negative feedback are not available in tube circuits, due to phase shift in the output transformer, and lack of sufficient gain without large numbers of tubes.
With lower feedback, distortion is higher and predominantly of low order. The onset of clipping is also gradual. Large amounts of feedback, allowed by transformerless circuits with many active devices, leads to numerically lower distortion but with more high harmonics, and harder transition to clipping. As input increases, the feedback uses the extra gain to ensure that the output follows it accurately until the amplifier has no more gain to give and the output saturates.
However, phase shift is largely an issue only with global feedback loops. Design architectures with local feedback can be used to compensate the lack of global negative feedback magnitude. Design "selectivism" is again a trend to observe: designers of sound producing devices may find the lack of feedback and resulting higher distortion beneficial, designers of sound reproducing devices with low distortion have often employed local feedback loops.
Soft clipping is also not a product of lack of feedback alone: Tubes have different characteristic curves. Factors such as bias affect the load line and clipping characteristics. Fixed and cathode-biased amplifiers behave and clip differently under overdrive.
The type of phase inverter circuitry can also affect greatly on softness or lack of it of clipping: long-tailed pair circuit, for example, has softer transition to clipping than a cathodyne. The coupling of the phase inverter and power tubes is also important, since certain types of coupling arrangements e.
In the recording industry and especially with microphone amplifiers it has been shown that amplifiers are often overloaded by signal transients. Russell O. Steven Mintz wrote a rebuttal to Hamm's paper, saying that the circuit design was of paramount importance, more than tubes vs solid state components. Monteith Jr and Richard R. Flowers in their article "Transistors Sound Better Than Tubes", which presented transistor mic preamplifier design that actually reacted to transient overloading similarly as the limited selection of tube preamplifiers tested by Hamm.
A particular 'sound' may be incurred or avoided at the designer's pleasure no matter what active devices he uses.