Ecl86 amplifier 2019

Arrival of the Valve History from Electronics World. Valve Technology A practical series of artilces published in the Maplin Magazine in Re-purposing a VHF transmitting valve. A mW Low Power Amplifier. Employing an ECC82 push-pull output stage. Also Experimental Audio Amplifier.

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• Eastern Electric Minimax and Fatman i-tube 252 Integrated Amplifiers (Hi-Fi+)
• Power Amps
• Loadline calculator for power stages with reactive load
• (English) Dual CV 120 amplifier
• Mullard 6GW8- Vintage Tube
• 6U8A triode/pentode for preamp, triode into pentode or visa versa?
• ROGERS CADET III 3 Stereo Valve / Tube Integrated AMPLIFIER
• Telewatt VS56
• Welcome To the Hoffman Amplifiers Forum

WATCH RELATED VIDEO: Home made PCL86 SE 2X3 watt tube amplifier working fine!

Eastern Electric Minimax and Fatman i-tube 252 Integrated Amplifiers (Hi-Fi+)

A guitar amplifier or amp is an electronic device or system that strengthens the weak electrical signal from a pickup on an electric guitar , bass guitar , or acoustic guitar so that it can produce sound through one or more loudspeakers , which are typically housed in a wooden cabinet.

A guitar amplifier may be a standalone wood or metal cabinet that contains only the power amplifier and preamplifier circuits, requiring the use of a separate speaker cabinet—or it may be a "combo" amplifier, which contains both the amplifier and one or more speakers in a wooden cabinet. Guitar amplifiers can also modify the instrument's tone by emphasizing or de-emphasizing certain frequencies, using equalizer controls, which function the same way as the bass and treble knobs on a home hi-fi stereo, and by adding electronic effects ; distortion also called "overdrive" and reverb are commonly available as built-in features.

For electric guitar players, their choice of guitar amp and the settings they use on the amplifier are a key part of their signature tone or sound.

Some guitar players are longtime users of a specific amp brand or model. Guitarists may also use external effects pedals to alter the sound of their tone before the signal reaches the amplifier. In the s, it was very hard for a musician playing a pickup-equipped guitar to find an amplifier and speaker to make their instrument louder as the only speakers that could be bought were "radio horns of limited frequency range and low acoustic output".

The cone speaker, widely used in s-era amp cabinets, was not widely offered for sale until the s and beyond. The first amplifiers and speakers could only be powered with large batteries, which made them heavy and hard to carry around. When engineers developed the first AC mains -powered amplifiers, they were soon used to make musical instruments louder.

Engineers invented the first loud, powerful amplifier and speaker systems for public address systems and movie theaters. These PA systems and movie theatre sound systems were very large and very expensive, and so they could not be used by most touring musicians.

After , smaller, portable AC mains-powered PA systems that could be plugged into a regular wall socket "quickly became popular with musicians"; indeed, " These early amps had a "single volume control and one or two input jacks, field coil speakers" and thin wooden cabinets; remarkably, these early amps did not have tone controls or even an on-off switch. In , the Stromberg-Voisinet firm marketed an electric stringed instrument and amplifier package.

There are no records as to how many--if any--of the amps were ever built and sold, beyond marketing materials. Stromberg-Voisinet still launched a new idea: a portable electric instrument amp with a speaker, all in a transportable wooden cabinet. In , Vega electrics launched a portable banjo amplifier. In , Electro String Instruments and amplifier this is not the same company as Stromberg Electro Instruments introduced a guitar amp with "high output" and a "string driven magnetic pickup".

Electro set out the standard template for combo amps: a wooden cabinet with the electronic amplifier mounted inside, and convenient carrying handles to facilitate transporting the cabinet. In , Vivi-Tone amp set-ups were used for live performances and radio shows. In , Rickenbacker launched a similar combo amp that added metal corner protectors to keep the corners in good condition during transportation.

In , Dobro released an electric guitar and amp package. In , Audio-Vox was founded by Paul Tutmarc , the inventor of the first electric bass Tutmarc's instrument did not achieve market success until Leo Fender 's launched the Precision Bass.

In , Vega sold a pickup and amplifier set for musicians to use with existing guitars. Volu-Tone used "high voltage current" to sense the string vibration, a potentially dangerous approach that did not become popular.

In Dobro released a guitar amp with a vacuum tube rectifier and two power tubes. By , Dobro and National began selling combo amps for Hawaiian guitar. In , Gibson had developed prototype combo amps, but never released them. The first electric instrument amplifiers were not intended for electric guitars, but were portable PA systems. These appeared in the early s when the introduction of electrolytic capacitors and rectifier tubes enabled economical built-in power supplies that could plug into wall sockets.

Previously, amplifiers required heavy multiple battery packs. People used these amplifiers to amplify acoustic guitar , but electronic amplification of guitar first became widely popular in the s and s craze for Western Swing and Hawaiian music , which extensively used amplified lap steel guitars. In fact, the very first recording of an electrically amplified string instrument was the September recordings of Milton Brown and his Musical Brownies, featuring steel guitarist Bob Dunn [2].

In the s, the earliest combo amplifiers had no tone controls. The first tone controls were simple, mainly providing treble adjustment.

The limited controls, the early loudspeakers , and the low amplifier power typically 15 watts or less before the mids gave poor high treble and bass output. Some models also provided effects such as an electronic tremolo unit. In confusion over nomenclature, Fender labeled early amplifier tremolo as "vibrato" and called the vibrato arm of the Stratocaster guitar a "tremolo bar" see vibrato unit , electric guitar , and tremolo.

Some later amplifier models included an onboard spring reverb effect, one of the first being the Ampeg Reverberocket amp. In the s, several guitarists experimented with producing distortion by deliberately overdriving amplifiers. Distortion became more popular from the mids, when The Kinks guitarist Dave Davies produced distortion effects by connecting the already distorted output of one amplifier into the input of another.

Later, most guitar amps were provided with preamplifier distortion controls, and "fuzz boxes" and other effects units were engineered to safely and reliably produce these sounds. In the s, overdrive and distortion have become an integral part of many styles of electric guitar playing, ranging from blues rock to heavy metal and hardcore punk.

Guitar combo amplifiers were at first used with bass guitars and electric pianos , but these instruments produce a wider frequency range and need a full-range speaker system. Much more amplifier power is required to reproduce low-frequency sound, especially at high volume. Reproducing low frequencies also requires a suitable woofer or subwoofer speaker and enclosure , with bass cabinets often being larger than a cabinet for mid-range or high-range sounds.

As well, the open-back cabinets used on many electric guitar amps, while effective for electric guitar, do not have good bass reproduction. Woofer enclosures must be larger and more sturdily built than cabinets for mid-range or high-frequency tweeter speakers.

As such, in the s, when Ampeg introduced bass amplifier and speaker systems, bass guitarists began to use them. Similarly, Hammond organ players used a specialized keyboard combo amplifier, the Leslie speaker cabinet, which contains a woofer for the low frequencies and a horn for the high frequencies. The Leslie horns rotate and a baffle around the woofer rotates as well, producing a rich tremolo and chorus effect.

Typically, guitar amplifiers have two amplifying circuit stages, and frequently have tone-shaping electric circuits, which usually include at least bass and treble controls, which function similarly to the equivalent controls on a home hi-fi system. More expensive amplifiers typically have more controls for other frequency ranges, such as one or two "midrange" controls and a "presence" control for high frequencies. Some guitar amplifiers have a graphic equalizer , which uses vertical faders to control multiple frequency bands.

Some more expensive bass amps have a parametric equalizer , which enables precise control of tone. The first amplifier stage is a preamplifier. It amplifies the audio signal to a level that can drive the power stage. The preamplifier also changes the tone of the signal; high preamp settings add overdrive. The power amplifier produces a high current signal to drive a loudspeaker and produce sound.

Tone stages may also provide electronic effects—such as equalization , compression, distortion, chorus , or reverb. Amplifiers may use vacuum tubes called valves in Britain , solid-state transistor devices, or both.

The two common guitar amplifier configurations are a combination "combo" amplifier that includes an amplifier and one or more speakers in a single cabinet, and a standalone amplifier often called a "head" or "amp head" , which passes the amplified signal via a speaker cable to one or more external speaker cabinets.

A wide range of speaker configurations are available in guitar cabinets—from cabinets with a single speaker e. Guitar amplifiers vary widely in price and quality. Other companies produce expensive custom-made amplifiers for professional musicians, which can cost hundreds or even thousands of dollars USD. Most combo amplifiers have a carrying handle, and many combo amplifiers and cabinets have metal or plastic-reinforced corners to protect the amp during transportation.

Control knobs and buttons are typically on the front of the cabinet or chassis, though in some cases, the knobs are on a recessed panel at the back of the top of the amplifier. The most basic amps only have a few knobs, which typically control volume, bass, and treble. More expensive amps may have several knobs that control pre-amp volume or "gain" , distortion or overdrive, volume, bass, mid and treble, and reverb.

Some older amps and their re-issued versions have a knob that controls a vibrato or tremolo effect. Some amps have an XLR jack for a microphone, either for the guitar amp to be used for singing in effect as a mini- PA system , or, for acoustic guitar, to mix a mic signal with a pickup signal. The vast majority of guitar amps can only be powered by AC mains power plugging into a wall outlet ; however, a small number of practice amps are designed for buskers also have battery power so they can be used for street performances.

A combo amp contains the amplifier and one or more speakers in a single cabinet. In a "head and speaker cabinet" configuration, the amplifier and speaker each have their own cabinet. The amplifier head may drive one or more speaker cabinets. In the s, guitarists played through public address amplifiers, but by the s this was uncommon.

Some guitar amps have an XLR input so that a microphone can be plugged in for singing. Guitar amps that include a mic input are in effect small, portable PA systems. Some amps, typically bass amps, have an XLR connector to provide a balanced output from the preamp section to a PA system or recording input. Instrument amplifiers are available in a wide range of price, quality, and performance levels.

Some are designed for beginners, such as small, low-wattage practice amps , which typically have a single 8" speaker and about 10 watts, or smaller "combo" amps with relatively low wattage 15 to 20 watts and a single 10" speaker. Mid- to large-size "combo" amps with 30 to 50 watts and one 12" speaker or four 10" speakers are best for high-volume situations, such as band rehearsals and onstage performances.

Vacuum tubes called "valves" in British English were by far the dominant active electronic components in most instrument amplifier applications until the s when solid-state semiconductors transistors started taking over. Transistor amplifiers are less expensive to build and maintain, reduce the weight and heat of an amplifier, and tend to be more reliable and more shock-resistant. Tubes are fragile and they must be replaced and maintained periodically. As well, serious problems with the tubes can render an amplifier inoperable until the issue is resolved.

While tube-based circuitry is technologically outdated, tube amps remain popular since many guitarists prefer their sound. Most inexpensive and mid-priced guitar amplifiers are based on transistor or semiconductor solid-state circuits, which are cheaper to produce and more reliable, and usually much lighter than tube amplifiers.

High-end solid-state amplifiers are less common, since many professional guitarists favor vacuum tubes. Only a few solid-state amps have enduring attraction, such as the Roland Jazz Chorus. A hybrid amplifier involves one of two combinations of tube and solid-state amplification. It may have a tube power amp fed by a solid-state pre-amp circuit, as in most of the original MusicMan amplifiers.

Alternatively, a tube preamplifier can feed a solid-state output stage, as in models from Kustom , Hartke, SWR , and Vox. This approach dispenses with the need for an output transformer and easily achieves modern power levels.

Microprocessor technology allows the use of digital onboard effects in guitar amps to create numerous different sounds and tones that simulate the sound of a range of tube amplifiers and different sized speaker cabinets, all using the same amplifier and speaker. These are known as modeling amplifiers , and can be programmed with simulated characteristic tones of different existing amplifier models and speaker cabinets—even microphone type or placement , or dialed in to the user's taste.

Many amps of this type are also programmable by way of USB connection to a home computer or laptop. The use of "full range, flat response" FRFR amplification systems by electric guitarists has received an extra impetus from modeling amplifiers.

Power Amps

This completes the journey I've been on on and off for the past 15 years into high efficiency single driver speakers coupled to low power single-ended valve amps. They are British 13E1 high power regulator valves. They were also used as radar pulse generators and could kick out 7KW pulses on a medium duty cycle. Also they were in use as LW radio transmitter valves. I've had the pair in the pic for years and built an amp with them around 10 years ago, but ended up dismantling it after the bias wouldn't hold steady. I now know why as I'm a bit more experienced with valves these days.

Loadline calculator for power stages with reactive load

Any man worth his salt can fix almost any problem with this stuff alone. The ECL86 belongs to a group of triode pentodes. The 86 is the best of the bunch being used in the more upmarket record players and radiograms. The "Blue spot" RG was a famous must have for the regge boys, ECL86 in pp per side and four, iirc, ten inch speakers to woomp well! Compact but that was its undoing it got very hot and cooked everything around it. Not sure if there was ever a 6volt heater version? The sting in the tail in the Mully design these days is a suitable output transformer IC. Must of course be a "gapped" stack intended for single ended operation and they tend to be expensive. Had a very quick look at Sowters Of course these are "hi fi" traffs so it might be possible to use a Fender Chap SE component.

(English) Dual CV 120 amplifier

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Mullard 6GW8- Vintage Tube

A German couple brought this little amp into the shop for repair. At first I looked at it sideways. Not having seen one before, I started to pluck its feathers away to see what was wrong. Bad joints and the odd resistor high value. But, the capacitors seemed all good. A nice clean up and test the ECL86 output, phase splitters etc, all good.

6U8A triode/pentode for preamp, triode into pentode or visa versa?

I cannot find any information about who invented the single ended SE amplifier, but for sure that was before the push pull PP amplifier. In Telephony they build SE amplifiers without tubes yes! This can give remarkable AC signal, and power gain from something simple like a carbon microphone. A distance of km could be overcome without using tubes, which number is too optimistic because you had to shout into a horn microphone, and at the other end you can barely hear it. But they did it, and all without tubes. To deal with distortion of those tubeless amplifiers, a man named W. Dean set up a Push Pull configuration for a microphone amplifier, and was granted a patent in In fact it was the first, and only important circuit topology with electron tubes, patented ever.

ROGERS CADET III 3 Stereo Valve / Tube Integrated AMPLIFIER

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Telewatt VS56

RELATED VIDEO: ECL86 SE Stereo HIFI Amplifier Build

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Welcome To the Hoffman Amplifiers Forum

A guitar amplifier or amp is an electronic device or system that strengthens the weak electrical signal from a pickup on an electric guitar , bass guitar , or acoustic guitar so that it can produce sound through one or more loudspeakers , which are typically housed in a wooden cabinet. A guitar amplifier may be a standalone wood or metal cabinet that contains only the power amplifier and preamplifier circuits, requiring the use of a separate speaker cabinet—or it may be a "combo" amplifier, which contains both the amplifier and one or more speakers in a wooden cabinet. Guitar amplifiers can also modify the instrument's tone by emphasizing or de-emphasizing certain frequencies, using equalizer controls, which function the same way as the bass and treble knobs on a home hi-fi stereo, and by adding electronic effects ; distortion also called "overdrive" and reverb are commonly available as built-in features. For electric guitar players, their choice of guitar amp and the settings they use on the amplifier are a key part of their signature tone or sound. Some guitar players are longtime users of a specific amp brand or model. Guitarists may also use external effects pedals to alter the sound of their tone before the signal reaches the amplifier. In the s, it was very hard for a musician playing a pickup-equipped guitar to find an amplifier and speaker to make their instrument louder as the only speakers that could be bought were "radio horns of limited frequency range and low acoustic output".

Since , they begun to manufacture other audio components also. Its follower, CV2 , has transistors germanium. The first model to move into a superior performance class is the CV80 , DM , built on the platform of younger brother, CV40 Why would you buy a Dual CV today?