Feel free to ask Myles

[myles_rose]

Originally posted by Caputo:

Myles, I'm looking for a portable power supply w/ AC outlets in order to play in public w/ any amp i want.

 

I saw one that was at 500 W and juiced at 4 Amps(I think)

 

is that enough?

 

If not, then what would I need?

Look on the back of each amp you will use at the AC consumption in watts (not the same as output watts).

 

As an example, a deluxe reverb is about 225 watts and a Rivera 100 watt head is about 440 watts.

[Tone Taster]

Originally posted by myles111:

Originally posted by Caputo:

Myles, I'm looking for a portable power supply w/ AC outlets in order to play in public w/ any amp i want.

 

I saw one that was at 500 W and juiced at 4 Amps(I think)

 

is that enough?

 

If not, then what would I need?

Look on the back of each amp you will use at the AC consumption in watts (not the same as output watts).

 

As an example, a deluxe reverb is about 225 watts and a Rivera 100 watt head is about 440 watts.

Thanks again. So do the amps matter?

What should I look for amperes-wise?

[myles_rose]

Originally posted by Caputo:

Originally posted by myles111:

Originally posted by Caputo:

Myles, I'm looking for a portable power supply w/ AC outlets in order to play in public w/ any amp i want.

 

I saw one that was at 500 W and juiced at 4 Amps(I think)

 

is that enough?

 

If not, then what would I need?

Look on the back of each amp you will use at the AC consumption in watts (not the same as output watts).

 

As an example, a deluxe reverb is about 225 watts and a Rivera 100 watt head is about 440 watts.

Thanks again. So do the amps matter?

What should I look for amperes-wise?

Just calculate the amps needed and do not exceed the units in watts or amps.

 

As an example .... a 225 watt (Fender Deluxe Reverb which is rated at 25 or so watts of audio output) amp running at 117 volts =

 

225 watts / 117 volts = 1.923 amps ... call this two amps.

[DC Ross]

Hey Miles,

 

I'm looking for a recommendation for replacement power & preamp tubes for my Mesa/Boogie Bass 400 (not the + model & it's bias is fixed).

 

I'm looking for a very big, full bottom end with smooth mids & highs and as much clean headroom as I can get. I'm definitely not a fan of the harsh, metallic sound that many of today's bassists are so fond of.

 

Any help you can provide is greatly appreciated.

 

Thanks!

-DC Ross

[myles_rose]

Originally posted by DC Ross:

Hey Miles,

 

I'm looking for a recommendation for replacement power & preamp tubes for my Mesa/Boogie Bass 400 (not the + model & it's bias is fixed).

 

I'm looking for a very big, full bottom end with smooth mids & highs and as much clean headroom as I can get. I'm definitely not a fan of the harsh, metallic sound that many of today's bassists are so fond of.

 

Any help you can provide is greatly appreciated.

 

Thanks!

-DC Ross

DC Ross....

 

Tube choice and selection is very much personal

taste and preference. You can find a document that will go into this in great detail, and give you information on tube types, characteristics, and also on the rating system used by GT, conversion from Mesa to GT and Fender to GT tables, matching information

and more.

 

http://www.guitaramplifierblueprinting.com is the website, and the document is the Tube Primer, v1.31 which has a link and button for download or viewing.

 

V1.31 is 47 pages and not too bad to download.

 

v3.20 is in two sections and about 200 total pages total, if you want a LOT of info.

 

On rating numbers:

 

Basically, a #1 will distort sooner, and a #10 later. If, for example, with a mid range tube, say a #5, makes your amp start to break in the output section at a volume setting on the amp of "4", then with a lower number tube, like a #2, your amp would have a same sort of break into output distortion at say a volume setting of "3". With a higher tube, such as an #8, then you amp would stay clean to about perhaps "6" on the volume.

 

High rating numbers are not more or less powerful, they just distort later. These are preferred by heavy rocker that want maximum clean output, as they get their distortion and tone from effects or pedals. These are not as touch dynamic.

 

Low number tubes are very touch dynamic, and more suited for a lot of folks, for smaller venues and recording.

 

Most folks prefer the 4-7 range tubes, as they are the closest in character and touch to what the amplifier designer had in mind. They are also the most versatile.

 

On scale conversions:

 

 

On Mesa Boogie amps there are six color codes.

All of them are in the GT 4-6 range. These amps

have a fixed bias to staying in this range is the

same as Mesa tubes.

 

Mesa vs Groove Tubes scale

 

Red 4

Yellow 4

Green 5

Gray 5

Blue 6

White 6

 

The list of current GT preamp tubes is here:

http://www.groovetubes.com/tubes_list.cfm?ObjectGroup_ID=107

 

The list of current GT output tubes is here:

 

http://www.groovetubes.com/tubes_list.cfm?ObjectGroup_ID=108

 

The list of fun things and things like bias tools is here:

 

http://www.groovetubes.com/groovetoys.cfm?Category_ID=30

 

The rest of the GT product line can be seen from the first page of the GT website from the pull down menus.

[liam8042]

Hi,

 

Im pretty new here, but I think its pretty awesome that sum1 out there actually helps us guys out. I have a LANEY VC30 112, I love the amp but the problem is that the clean volume knob doesn't work properly, Even when turned to 0 there is still a signal coming through and all it takes is the slightest of nudges and I think Im hearing the Who play live. The volume even jumps up and down on its own mid song. At first I suspected a dodgy pot, but I was wondering could this be to do with the valves? or the circuitry? any ideas? cheers..

[myles_rose]

Originally posted by liam8042:

Hi,

 

Im pretty new here, but I think its pretty awesome that sum1 out there actually helps us guys out. I have a LANEY VC30 112, I love the amp but the problem is that the clean volume knob doesn't work properly, Even when turned to 0 there is still a signal coming through and all it takes is the slightest of nudges and I think Im hearing the Who play live. The volume even jumps up and down on its own mid song. At first I suspected a dodgy pot, but I was wondering could this be to do with the valves? or the circuitry? any ideas? cheers..

This is most likely a bad pot.

[caughtlikefire]

Myles,

 

Have you had a chance to try out New Sensor's reissue Tungsol 12Ax7? Any thoughts?

 

I'm currently using a GT 12ax7 Mullard in V1 and stock Mesa tubes in V2-V4 of my Mesa Rectoverb. I was originally planning to go with 12ax7M in V1, 12ax7C in V2-4, and a GT SAG MPI in V5, but I'm thinking that these new Tungsols might be a good option for a higher gain amp like mine.

[myles_rose]

Originally posted by caughtlikefire:

Myles,

 

Have you had a chance to try out New Sensor's reissue Tungsol 12Ax7? Any thoughts?

 

I'm currently using a GT 12ax7 Mullard in V1 and stock Mesa tubes in V2-V4 of my Mesa Rectoverb. I was originally planning to go with 12ax7M in V1, 12ax7C in V2-4, and a GT SAG MPI in V5, but I'm thinking that these new Tungsols might be a good option for a higher gain amp like mine.

I have written a number of reports on this tube before.

 

Basically, the behave and trace like the 12AX7EH.

 

The are a nice tube and it's use it personal preference.

 

In a complex front end such as a "Recto" I prefer a tube with higher average current specs unless the "Tung Sol" is selected and tested to meet spec.

[Gifthorse]

Hey Myles, I played through a Univalve the other day and it sounded really cool. I was wondering, I may get a bivalve (between this and a VHT 50 2/12)

 

I noticed there were 2 inputs into the bivalve, one of them lower gained. So could I run through an A/B box and run through both the hot input and the lower one and almost have a 2 channel amp like cleaner and distorted?

 

Have you heard a VHT 50 12? I saw one on ebay but I don't want it if it sounds anything like my singer's pitbull 45. I know it has el 34's. Steve Fryette said it didn't have as much gain as the 50 CL which is my fav amp, but I would probably only use a 3rd of the gain avail anyways.. I loved the THD, I would hope the VHT would be able to compete.

 

I tried out a Prescription ES and loved it, it has killer tone cranked but GOD is that loud.

[myles_rose]

Originally posted by flagshipmile:

Hey Myles, I played through a Univalve the other day and it sounded really cool. I was wondering, I may get a bivalve (between this and a VHT 50 2/12)

 

I noticed there were 2 inputs into the bivalve, one of them lower gained. So could I run through an A/B box and run through both the hot input and the lower one and almost have a 2 channel amp like cleaner and distorted?

 

Have you heard a VHT 50 12? I saw one on ebay but I don't want it if it sounds anything like my singer's pitbull 45. I know it has el 34's. Steve Fryette said it didn't have as much gain as the 50 CL which is my fav amp, but I would probably only use a 3rd of the gain avail anyways.. I loved the THD, I would hope the VHT would be able to compete.

 

I tried out a Prescription ES and loved it, it has killer tone cranked but GOD is that loud.

The VHT and BiValve are very very very different amps. You are asking me to compare cheese and an apple.

 

You cannot really run an A/B switch on the inputs of the BiValve as it only expects one input to be used at a time and they are too different in gain and overall level.

[Gifthorse]

Which one is the cheese?

 

Heh, thanks again dude.

 

I may just have to get the bivalve and a combo for clean.

 

Any cheap combos with a decent clean sound?

[myles_rose]

Originally posted by flagshipmile:

Which one is the cheese?

 

Heh, thanks again dude.

 

I may just have to get the bivalve and a combo for clean.

 

Any cheap combos with a decent clean sound?

I do not remember which is the cheese!

 

There are a lot of great combos out there. It boils down to personal preference and taste (cheese).

[robbue]

Myles Said:

 

.[/qb]

Frank,

 

That is totally subjective.

 

Personally, I think the Ruby 6L6 and their EL34BSTR are amazing tubes. These are exclusive Ruby designs off their own tooling. Some people think they are rebranded or repackaged but this is not the case.

 

The Ruby EL34BSTR is perhaps my personal favorite 25 watt EL34 tube. [/QB]

 

 

Myles,

 

Glad to hear you dig the Ruby 6L6's as thats what my Randall RM50 has and it sounds great!

 

I am curious to try the self biasing feature on the back of the amp and my three part question is this.

First..would trying the Ruby EL34BSTR give me enough power at bedroom levels? I get a great sound from all the modules with both the preamp and master levels at about 2-3 with the 6L6's.

 

Second..what can I expect sonically in comparison to the 6L6's

 

Third..the manual says to set the bias (for the EL34's) between 30mV & 38mV ,,,what would you recommend? What happens from one end of that to the other?

 

Ok,, that maybe 4 questions

 

Thanks in advance Myles!!

[myles_rose]

Originally posted by robbue:

Myles Said:

 

.

Frank,

 

That is totally subjective.

 

Personally, I think the Ruby 6L6 and their EL34BSTR are amazing tubes. These are exclusive Ruby designs off their own tooling. Some people think they are rebranded or repackaged but this is not the case.

 

The Ruby EL34BSTR is perhaps my personal favorite 25 watt EL34 tube. [/QB]

 

 

Myles,

 

Glad to hear you dig the Ruby 6L6's as thats what my Randall RM50 has and it sounds great!

 

I am curious to try the self biasing feature on the back of the amp and my three part question is this.

First..would trying the Ruby EL34BSTR give me enough power at bedroom levels? I get a great sound from all the modules with both the preamp and master levels at about 2-3 with the 6L6's.

 

Second..what can I expect sonically in comparison to the 6L6's

 

Third..the manual says to set the bias (for the EL34's) between 30mV & 38mV ,,,what would you recommend? What happens from one end of that to the other?

 

Ok,, that maybe 4 questions

 

Thanks in advance Myles!! [/QB]

 

 

EL43's are more articulate and softer than 6L6's in some amps.

 

Bias at about 34mA in your amo.

 

There would be more than enough "bedroom power".

[marvar]

Hi Myles! I have bugged you in the past, and you have been very helpful - Thank you!

My amp is a Marshall JCM600 & 4x12 w/H30's and Greenbacks.

Currently my on hand tube stock is:

GT 12ax7M (2)

GT 12ax7C

GT 12ax7R

GT 12ax7R2

Jan Philips 12ax7wa (2)

GT Ecc83

GT 12ax7MPI

GT EL34LS #7 power tubes

I'm currently using a Philips JAN 12ax7 in V1,and I'm pretty happy with that. V2 is for the overdrive channel, I'm using a 12ax7M in that position. V3 is a toss-up, and V4- the PI I'm using is the R2-just a regular one-not matched. one of my questions is why does the R2 sound better, at least to my ears in V4 than the MPI? and yes, the bias is set right.

Second question- do the 12ax7M have more compression than most of the other 12ax7's? again to my ear it sounds that way- that's why I'm using it in V2 to help smooth some of the clipping in the OD channel-

and, third- without going into alot of detail-what exactly does V3 do?(cathode follower/tone stack) and out of what is listed above - which would you recommend for V3- or feel free to give your own personal recommendations (if you have any experience with the JCM600) as to which tubes you would use in any of the positions. I play mostly 70's and 80's rock w/ a Les Paul w/Alnico5 pups.

Thanks again!

[myles_rose]

Originally posted by marvar:

Hi Myles! I have bugged you in the past, and you have been very helpful - Thank you!

My amp is a Marshall JCM600 & 4x12 w/H30's and Greenbacks.

Currently my on hand tube stock is:

GT 12ax7M (2)

GT 12ax7C

GT 12ax7R

GT 12ax7R2

Jan Philips 12ax7wa (2)

GT Ecc83

GT 12ax7MPI

GT EL34LS #7 power tubes

I'm currently using a Philips JAN 12ax7 in V1,and I'm pretty happy with that. V2 is for the overdrive channel, I'm using a 12ax7M in that position. V3 is a toss-up, and V4- the PI I'm using is the R2-just a regular one-not matched. one of my questions is why does the R2 sound better, at least to my ears in V4 than the MPI? and yes, the bias is set right.

Second question- do the 12ax7M have more compression than most of the other 12ax7's? again to my ear it sounds that way- that's why I'm using it in V2 to help smooth some of the clipping in the OD channel-

and, third- without going into alot of detail-what exactly does V3 do?(cathode follower/tone stack) and out of what is listed above - which would you recommend for V3- or feel free to give your own personal recommendations (if you have any experience with the JCM600) as to which tubes you would use in any of the positions. I play mostly 70's and 80's rock w/ a Les Paul w/Alnico5 pups.

Thanks again!

The 12AX7R2 is a long plate as is the M. It is personal preference. In Z amps as an example, a 12AX7M sounds better to most with a Strat and Les Paul and the R2 sound better with a Tele. You would think one would "prefer" single coils but there is a difference in some ways between the Strat and Tele and sticks the Strat in the "humbucker" class.

 

The 12AX7M has less compression than most short plate 12AX7s.

 

Cathode tone follower circuits are touch sensitive in a way where they get brighter as they are pushed harder. This all boils down to personal taste.

[picker]

Myles,

I just got a Reverend Goblin, and it's very agressive and neat, but I am having a bit of a time getting a clean sound I like out of it. I am wondering if a 12AT7 or 12AY7 somewhere in the preamp will tame it down a bit without neutering it completely. If so, where can I get such a tube?

[myles_rose]

Originally posted by Picker:

Myles,

I just got a Reverend Goblin, and it's very agressive and neat, but I am having a bit of a time getting a clean sound I like out of it. I am wondering if a 12AT7 or 12AY7 somewhere in the preamp will tame it down a bit without neutering it completely. If so, where can I get such a tube?

I do not care for 12AT7s in the tone/gain stage.

 

Start with a good 5751 in V1 .... get it from Mike at www.kcanostubes.com

 

If that is not enough drop, you can get a 12AY7 most anywhere. On the GT website if you want to go the internet order route its at

 

http://www.groovetubes.com/product.cfm?Product_ID=1779

 

Ignore the photo .... the photo is of a 12AU7.

[Gifthorse]

Hey Myles, I sent you an email to the yahoo adress. Anyways, I don't like the amp I just got and am sending it back. Is teh Univalve loud enough for live performance? I mean if you were me would you buy a bivalve instead?

[BillWelcome Home Studios]

Found this, written by Miles a while ago:

 

 

There is a feature of the THD Univalve that is overlooked by too many folks. This is something I have written in the past that may be of value to some UV owners.

 

You might also want to try the line out of the UniValve to feed the instrument input of your current amplifier. The UniValve is one of the most impressive recording tools available, as well as a superb front end for amplifiers in a performance venue. Mic'd up with its own cabinet and mixed with a signal into the house system is something to be heard ... you won't forget the experience. This is one of the biggest features of this amp. It is overlooked by too many folks. If you have a clean amp that you thought was rather one dimensional (as an example, a clean Fender Twin), using the UV as a preamp will yield fantastic results. Plug your guitar into the UV, and take the line out from the UV using the instrument setting, plug into the Fender Twin input. Now you can set your volume on the Fender Twin to the desired loudness level, set the UV's volume to the desired clean, crunch, or distortion taste,

and then balance the overall level using the UV line out level pot as to keep from overdriving (unless you want to) the front end of the Fender. The UV sits quite nicely on the top of most amps. You do not need to even have a speaker hooked up to the Univalve, it has built in protection when a speaker is not connected.

 

I do not think of the Univalve as a guitar amp. I do not try to compare it with other amps. It is a great amp of course, and is quite loud in spite of it's published ratings, but this amp is a MUST HAVE tool for the studio. It is a fantastic unit to use with ProTools or other direct recording Digital Work Stations. If you have a budget for amps and another for studio gear, maybe take a little out of each for a Univalve.

[picker]

Regarding the Goblin amp, can you tell me which socket to put the lower gain tube in?

[Caevan O’Shite]

Saaaaaay, Myles...

 

Remember those Jim Kelly amps, with four 6V6's and that "FACS" circuit?

 

I haven't been able to scare up anything other than one schematic on them; got any further general information on 'em, or a source for such?

[myles_rose]

Originally posted by flagshipmile:

Hey Myles, I sent you an email to the yahoo adress. Anyways, I don't like the amp I just got and am sending it back. Is teh Univalve loud enough for live performance? I mean if you were me would you buy a bivalve instead?

I wrote back in response to your email.

[myles_rose]

Originally posted by Bill@Welcome Home Studios:

Found this, written by Miles a while ago:

 

 

There is a feature of the THD Univalve that is overlooked by too many folks. This is something I have written in the past that may be of value to some UV owners.

 

You might also want to try the line out of the UniValve to feed the instrument input of your current amplifier. The UniValve is one of the most impressive recording tools available, as well as a superb front end for amplifiers in a performance venue. Mic'd up with its own cabinet and mixed with a signal into the house system is something to be heard ... you won't forget the experience. This is one of the biggest features of this amp. It is overlooked by too many folks. If you have a clean amp that you thought was rather one dimensional (as an example, a clean Fender Twin), using the UV as a preamp will yield fantastic results. Plug your guitar into the UV, and take the line out from the UV using the instrument setting, plug into the Fender Twin input. Now you can set your volume on the Fender Twin to the desired loudness level, set the UV's volume to the desired clean, crunch, or distortion taste,

and then balance the overall level using the UV line out level pot as to keep from overdriving (unless you want to) the front end of the Fender. The UV sits quite nicely on the top of most amps. You do not need to even have a speaker hooked up to the Univalve, it has built in protection when a speaker is not connected.

 

I do not think of the Univalve as a guitar amp. I do not try to compare it with other amps. It is a great amp of course, and is quite loud in spite of it's published ratings, but this amp is a MUST HAVE tool for the studio. It is a fantastic unit to use with ProTools or other direct recording Digital Work Stations. If you have a budget for amps and another for studio gear, maybe take a little out of each for a Univalve.

Bill,

 

I am also doing a lot with the GT Soul-o Single. Similar concept to the UV but has a few differences. The SS has a master volume, footswitchable or front panel boost function, a full three band EQ tone stack with presence but most of all, the output transformer is the size of a 50 watt Marshall OT and if you compare the UV and SS side by side listen to the low end.

 

Both great amps but different.

[myles_rose]

Originally posted by Picker:

Regarding the Goblin amp, can you tell me which socket to put the lower gain tube in?

In V1 ... socket closest to the guitar input jack.

[Caevan O’Shite]

Saaaaaay, Myles...

 

Remember those Jim Kelly amps, with four 6V6's and that "FACS" circuit?

 

I haven't been able to scare up anything other than one schematic on them; got any further general information on 'em, or a source for such?

[Teahead]

Hi Myles, hoping to avail of your wisdom once again, please excuse me if this post becomes a little long winded...

 

My '04 Reissue AC30tbx has a nasty little habit of blowing the rectifier and fuse, I only got around 60 hours from the last two I used.

 

It happens at power up and to be safe I also change all the power tubes when it blows. On two occasions, I've found that the grid resistor relating to one of the power tubes has been scorched to a cinder, it's R73 on the schematic. I had it replaced the last time and it's in the shop again for repair as I type.

 

I've spoken with guys who own the same amp and who operate it in much the same way. Everyone has experienced the problem I am suffering, but they seem to get a couple of years from power tubes and a rectifier, where I am only getting a couple of months.

 

Could you suggest where a tech might look for the cause of this? Folks have told me that something could be pulling too much current?

 

Is there any risk in using a Weber copper solid state GZ34 replacement? Considering the circuit appears to have such an appetite for rectifier destruction!

 

Finally, when the GZ34 blows, does it take the entire quad of EL84s with it, or just the power tube relating to that specific socket where the resistor has scorched? I had four Brimar output valves in there when it happened last and I'd love to hope that three of them might be ok!

 

Thanks for your help, Myles!

[myles_rose]

Originally posted by Caevan_O'Shite:

Saaaaaay, Myles...

 

Remember those Jim Kelly amps, with four 6V6's and that "FACS" circuit?

 

I haven't been able to scare up anything other than one schematic on them; got any further general information on 'em, or a source for such?

Contact me at GT next week and I will look through my files.

[ThatBookGuy]

Hello there,

 

I would appreciate your thoughts on effects loops. I have a carvin sx combo with a buffered effects loop, and I know the conventional wisdom is wah and distortion should go straight into the amp and digital delays into the loop, what about tremolo pedals, whammy pedals and such? Loop or no? Thank you for your input!

 

John