Echoes of vacuum tubes in my memories: seeing tube testers in drug stores as a child (thinking they looked like either scientific equipment or else science-fiction props—and accidentally left just feet from the penny-candy), as well as peering into the back of our small B&W TV growing up (and marveling at the "city of light" inside there: all the orange glowing filaments from the tubes…).
And gone by the time I was old enough to be interested in electronics.
Nonetheless, my curiosity about them remained and I did eventually seek out books to understand how they worked. I have since built perhaps a dozen hi-fi stereo and mono-block tube amplifiers—some from kits, some from scratch. I've built a handful of guitar amps as well (even sold some as kits for a bit). Point to point, tagboard, PCBs…
Anyone that likes to tinker in electronics I recommend they try their hand at at least one tube project (probably an amp of some kind).
Rob Robinette is a great guitar-amp resource; knows just about everything about Fender amps in particular. He has many mods to many common/not-so-common Fenders.
Just his list of 5E3 mods (Fender Deluxe) is awesome:
Tangential question: Does anyone know of a basic large-signal equation for a triode (or any other vacuum tube type) like the simplified Ebers-Moll equation for BJTs or the square law equations for the linear and saturation regions of a MOSFET? It would really help my understanding, but whenever I google it I only see academic papers, like it's a weird thing to search for.
If I understand them correctly, Ebers-Moll equations are based on the exponential relationship between voltage and current in a BJT.
But tubes aren't current amplifiers, they're voltage amplifiers, like FETs.
You can look at the "characteristics curves" of tubes (plate curves and transconductance curves), which tell the story of current against plate-to-cathode voltages for fixed grid voltages.
The key diagram is the one that shows the signal path through the amplifier. Input feeds grid, plate feeds next grid, final output is from plate. Everything else is supporting circuitry.
Note that between each stage there's a capacitor in the signal path. That's to block DC. If you want an amp that amplifies DC, each stage has to run at a higher voltage than the previous stage. The plate must be above the grid in voltage.
This was a huge headache in tube computers, both analog and digital.
Transistor circuits don't have the increasing voltage problem. Outputs and inputs are in the same voltage range. That's because transistors are current gain devices, not voltage gain devices.
> Note that between each stage there's a capacitor in the signal path. That's to block DC. If you want an amp that amplifies DC, each stage has to run at a higher voltage than the previous stage. The plate must be above the grid in voltage. This was a huge headache in tube computers, both analog and digital.
You can also stick a voltage divider (and probably some diode clamping) in there to pull the signal off of the plate down to a grid compatible voltage for the next stage if you're just doing digital computing. That was the most common setup I've seen in tube based computing. They tended to play pretty nice with the resistors needed for the plate current anyway so it wasn't that much extra RC constant delay.
It's not exactly what I'd call a rounding error, but it's manageable. But yeah, tube computing in general is an exercise in building a really fancy space heater.
I'm trying to keep my tube computer I'm building down to ~3KW, and that's probably the biggest actual constraint on design complexity.
I had a 1971 Marshall tube amp land in my lap, for free. I'm not a guitar player, but wanted to get it fixed it up before either selling it or learning guitar. There's a lot of "magic" there - the amp guy asked if I wanted to swap the tubes for some "more authentic" tubes that were used in England at the time. Pro tip - don't ask the internet for advice for making your tube amp sound nice, you'll get every opinion possible.
Guitar amps are all about getting the right kind of harmonic distortion, so of course the guy had opinions. But tube rolling is madness, avoid it at all costs.
You don’t even need to ask! Generally speaking, you don’t want a guitar amp to sound nice, you want it to sound good, good being a function of many things.
For clean sound, use compatible radio preamp tubes and bias the power tubes conservatively.
For distorted sound, use the lowest overhead preamp tubes you can find, and bias the power tubes as hot as you dare without them breaking within the hour. You can always change them after a gig, or between sets. :-)
it's a bit weird that I never thought about it before this, when I already had the facts in my head: the triode tube amplifier was invented by Lee de Forest, but he had no idea how it worked or even what it was capable of. then 45 years later, the solid state transistor amplifier was invented, and they had no idea how it worked either.
for people who have not had much EE education, what is important about triodes and transistors is that they amplify. you can put a signal in (a signal like from a microphone responding to your voice), and put some power in (like from a battery) and these amplifiers can make an output "copy" of the signal which is more powerful/"louder" than the original.
from this basic function, everything that we think of as "electronic" flows. we would still have electric things like light bulbs, heaters, spark plugs, electromagnets, but basically just electric steam punk frankenstein machines, and nothing subtle. Amplifiers are termed "active" electronics; without them, we'd simply have passive electricity.
I didn't read this article because I already know how these things work, and the article looks extremely confusing, and I've already read my fill of explanations that don't explain anything and (not saying this is one of those) I don't want to even risk that again. it is very difficult to find explanations for how transistors work that make any sense at all.
> he solid state transistor amplifier was invented, and they had no idea how it worked either.
That cannot possibly be true. Not knowing what exactly is going on with the charge carriers at the subatomic and quantum levels is not the same as not knowing how the amplifier works: like if we fiddle with the voltage at the base, we can influence the collector current, and all the rest.
What is true is that some early transistor designs of audio amps treated transistors like tubes: they featured a phase inverter transistor that fed two non-complementary push-pull stages whose output was combined by a center-tapped output transformer.
The excuse that well-matched complementary PNP transistors were not readily available at that time rings hollow, because it's possible to create an push-pull output stage with just NPN transistors. This is called "quasi complementary" (lots of search results for this).
Output transformers, if they have multiple taps in the secondary winding, do allow for different impedances. If the end users expect to be able to plug a 16 ohm speaker into a 16 ohm output jack and a 4 ohm into 4 ohm, then they will understand that kind of amp better.
Radio Shack sold PA amplifiers with an output transformer well past the age of the tube, like the MPA series, e.g. MPA-40, a 20 W mplifier. On that thing you can obtain the raw amplifier output using the "70V" terminal. Then it has a number of through-the-trafo outputs labelled with nominal ohmages of speakers.
The Owner's manual extols the advantages of using transformers for speakers and describes how to use the 70V output in conjunction with external transformers.
Quote:
For complex multiple-speaker arrangements that require many speakers and
long runs of connecting wire, we recommend you use a line transformer (not
supplied), available at your local RadioShack store.
[...]
There are several advantages to using
transformers.
• You can connect speakers with different impedances without causing
differences in output between the
speakers.
• You can add or remove a speaker
without having to recalculate the
entire system’s impedance.
• You can reduce signal loss when
you use speaker wire over 50 feet
long.
Sound masking systems still use 70V audio output with output transformers at each speaker, voltage drop is rough when your signal is only a few volts and you’re using small conductors. Last time I sold a sound masking install we used 14/2 cable for the 70V audio signal.
They're quite popular for distributed audio systems in general (of which sound masking is one type). "Constant voltage audio" comes in a few flavors and 70v is very common in the US, other parts of the world often use 100v. Background music systems in retail, voice paging systems, etc use constant voltage hardware because its much better technology for very long cable runs, daisy-chained speakers, and centrally located amplifiers.
The cost is fidelity. Full-range audio transformers aren't cheap, so these systems usually make some compromises because your announcements or smooth jazz over the pasta aisle don't need to be true hi-fi.
Its cool technology. Most of the speakers have variable power taps, so you can run a bunch of them in parallel on a single line and control the actual volume as-needed based on where the speaker is deployed by varying the transformer tap on each speaker.
Sorry, but adblock is a genuine quality of life hack for everyone online. Since you don't want to install anything, how about working at the DNS level and/or hosts level? https://adguard-dns.io/en/welcome.html will change your mind. https://github.com/Ultimate-Hosts-Blacklist is another option for doing it in the hosts file.
Echoes of vacuum tubes in my memories: seeing tube testers in drug stores as a child (thinking they looked like either scientific equipment or else science-fiction props—and accidentally left just feet from the penny-candy), as well as peering into the back of our small B&W TV growing up (and marveling at the "city of light" inside there: all the orange glowing filaments from the tubes…).
And gone by the time I was old enough to be interested in electronics.
Nonetheless, my curiosity about them remained and I did eventually seek out books to understand how they worked. I have since built perhaps a dozen hi-fi stereo and mono-block tube amplifiers—some from kits, some from scratch. I've built a handful of guitar amps as well (even sold some as kits for a bit). Point to point, tagboard, PCBs…
Anyone that likes to tinker in electronics I recommend they try their hand at at least one tube project (probably an amp of some kind).
Rob Robinette is a great guitar-amp resource; knows just about everything about Fender amps in particular. He has many mods to many common/not-so-common Fenders.
Just his list of 5E3 mods (Fender Deluxe) is awesome:
https://robrobinette.com/5e3_Modifications.htm
Tangential question: Does anyone know of a basic large-signal equation for a triode (or any other vacuum tube type) like the simplified Ebers-Moll equation for BJTs or the square law equations for the linear and saturation regions of a MOSFET? It would really help my understanding, but whenever I google it I only see academic papers, like it's a weird thing to search for.
If I understand them correctly, Ebers-Moll equations are based on the exponential relationship between voltage and current in a BJT.
But tubes aren't current amplifiers, they're voltage amplifiers, like FETs.
You can look at the "characteristics curves" of tubes (plate curves and transconductance curves), which tell the story of current against plate-to-cathode voltages for fixed grid voltages.
That's a cute little article.
The key diagram is the one that shows the signal path through the amplifier. Input feeds grid, plate feeds next grid, final output is from plate. Everything else is supporting circuitry.
Note that between each stage there's a capacitor in the signal path. That's to block DC. If you want an amp that amplifies DC, each stage has to run at a higher voltage than the previous stage. The plate must be above the grid in voltage. This was a huge headache in tube computers, both analog and digital.
Transistor circuits don't have the increasing voltage problem. Outputs and inputs are in the same voltage range. That's because transistors are current gain devices, not voltage gain devices.
> Note that between each stage there's a capacitor in the signal path. That's to block DC. If you want an amp that amplifies DC, each stage has to run at a higher voltage than the previous stage. The plate must be above the grid in voltage. This was a huge headache in tube computers, both analog and digital.
You can also stick a voltage divider (and probably some diode clamping) in there to pull the signal off of the plate down to a grid compatible voltage for the next stage if you're just doing digital computing. That was the most common setup I've seen in tube based computing. They tended to play pretty nice with the resistors needed for the plate current anyway so it wasn't that much extra RC constant delay.
That won't help with the power consumption though, I guess. (Or is that a rounding error compared to everything else?)
It's not exactly what I'd call a rounding error, but it's manageable. But yeah, tube computing in general is an exercise in building a really fancy space heater.
I'm trying to keep my tube computer I'm building down to ~3KW, and that's probably the biggest actual constraint on design complexity.
I had a 1971 Marshall tube amp land in my lap, for free. I'm not a guitar player, but wanted to get it fixed it up before either selling it or learning guitar. There's a lot of "magic" there - the amp guy asked if I wanted to swap the tubes for some "more authentic" tubes that were used in England at the time. Pro tip - don't ask the internet for advice for making your tube amp sound nice, you'll get every opinion possible.
Guitar amps are all about getting the right kind of harmonic distortion, so of course the guy had opinions. But tube rolling is madness, avoid it at all costs.
[delayed]
You don’t even need to ask! Generally speaking, you don’t want a guitar amp to sound nice, you want it to sound good, good being a function of many things.
For clean sound, use compatible radio preamp tubes and bias the power tubes conservatively.
For distorted sound, use the lowest overhead preamp tubes you can find, and bias the power tubes as hot as you dare without them breaking within the hour. You can always change them after a gig, or between sets. :-)
it's a bit weird that I never thought about it before this, when I already had the facts in my head: the triode tube amplifier was invented by Lee de Forest, but he had no idea how it worked or even what it was capable of. then 45 years later, the solid state transistor amplifier was invented, and they had no idea how it worked either.
for people who have not had much EE education, what is important about triodes and transistors is that they amplify. you can put a signal in (a signal like from a microphone responding to your voice), and put some power in (like from a battery) and these amplifiers can make an output "copy" of the signal which is more powerful/"louder" than the original.
from this basic function, everything that we think of as "electronic" flows. we would still have electric things like light bulbs, heaters, spark plugs, electromagnets, but basically just electric steam punk frankenstein machines, and nothing subtle. Amplifiers are termed "active" electronics; without them, we'd simply have passive electricity.
I didn't read this article because I already know how these things work, and the article looks extremely confusing, and I've already read my fill of explanations that don't explain anything and (not saying this is one of those) I don't want to even risk that again. it is very difficult to find explanations for how transistors work that make any sense at all.
> he solid state transistor amplifier was invented, and they had no idea how it worked either.
That cannot possibly be true. Not knowing what exactly is going on with the charge carriers at the subatomic and quantum levels is not the same as not knowing how the amplifier works: like if we fiddle with the voltage at the base, we can influence the collector current, and all the rest.
What is true is that some early transistor designs of audio amps treated transistors like tubes: they featured a phase inverter transistor that fed two non-complementary push-pull stages whose output was combined by a center-tapped output transformer.
The excuse that well-matched complementary PNP transistors were not readily available at that time rings hollow, because it's possible to create an push-pull output stage with just NPN transistors. This is called "quasi complementary" (lots of search results for this).
Output transformers, if they have multiple taps in the secondary winding, do allow for different impedances. If the end users expect to be able to plug a 16 ohm speaker into a 16 ohm output jack and a 4 ohm into 4 ohm, then they will understand that kind of amp better.
Radio Shack sold PA amplifiers with an output transformer well past the age of the tube, like the MPA series, e.g. MPA-40, a 20 W mplifier. On that thing you can obtain the raw amplifier output using the "70V" terminal. Then it has a number of through-the-trafo outputs labelled with nominal ohmages of speakers.
The Owner's manual extols the advantages of using transformers for speakers and describes how to use the 70V output in conjunction with external transformers.
Quote:
For complex multiple-speaker arrangements that require many speakers and long runs of connecting wire, we recommend you use a line transformer (not supplied), available at your local RadioShack store.
[...]
There are several advantages to using transformers.
• You can connect speakers with different impedances without causing differences in output between the speakers.
• You can add or remove a speaker without having to recalculate the entire system’s impedance.
• You can reduce signal loss when you use speaker wire over 50 feet long.
LOL!
Sound masking systems still use 70V audio output with output transformers at each speaker, voltage drop is rough when your signal is only a few volts and you’re using small conductors. Last time I sold a sound masking install we used 14/2 cable for the 70V audio signal.
https://www.atlasied.com/speech-privacy-speakers?srsltid=Afm...
They're quite popular for distributed audio systems in general (of which sound masking is one type). "Constant voltage audio" comes in a few flavors and 70v is very common in the US, other parts of the world often use 100v. Background music systems in retail, voice paging systems, etc use constant voltage hardware because its much better technology for very long cable runs, daisy-chained speakers, and centrally located amplifiers.
The cost is fidelity. Full-range audio transformers aren't cheap, so these systems usually make some compromises because your announcements or smooth jazz over the pasta aisle don't need to be true hi-fi.
Its cool technology. Most of the speakers have variable power taps, so you can run a bunch of them in parallel on a single line and control the actual volume as-needed based on where the speaker is deployed by varying the transformer tap on each speaker.
*output transformers
This is an interesting topic, but the ads overlaying the content make this very hard to read :(
* Please don't suggest I install an Ad blocker.
What ads? Install an ad blocker.
Sorry, but adblock is a genuine quality of life hack for everyone online. Since you don't want to install anything, how about working at the DNS level and/or hosts level? https://adguard-dns.io/en/welcome.html will change your mind. https://github.com/Ultimate-Hosts-Blacklist is another option for doing it in the hosts file.
Install an Ad blocker. I'd recommend uBlockOrigin on Firefox, or Firefox for mobile.
I mean just in general it makes the web less awful. Webpages are so much easier on the eyes without all the crap they try to stuff in there.
And it can prevent malware, especially for those less tech-inclined.
And it means you use less data/bandwidth, since the blocker prevents the request from ever being made in the first place.
If you want to support a site, just buy a subscription or donate to them or something.