Reviving a rare programmable amp from the early ’80s.
Dear Amp Man,
I have a Tusc DF-100. I've never heard the amp, as it was dead when I got it, and it hasn't been played in years. I'd like to get this baby up and running, and I was hoping you could walk me through the process and maybe give me some idea of what I have here. She's all-tube, with four 6L6GCs and two 12AT7s. There's reverb, and what I'm told are two 12" Fane speakers. I'm also told that channel 1 is a very blackface-like, while channel 2 has programmable digital effects. I'll assume the preamp tubes are fine until proven otherwise, though I plan to replace the four output tubes and the electrolytics in the power section. Any assistance will be appreciated.
Doug Guillaume
Hi Doug,
Thanks for writing in about this unusual early-'80s amp. No Tusc has ever crossed my bench, but I did some research, and it's an interesting amp!
Tusc was originally based in Central Islip, New York, and apparently run by a gentleman named Craig Frye. While these amps used a tube phase inverter (driver) stage and a 6L6-based output stage, Tusc's claim to fame was a “programmable" front end. There were no effects—or anything digital in the audio path, for that matter—but they could store and recall some gain and EQ settings for channel 2, a unique feature for the time. Many of the regular parts—passive components, speakers, etc.—were purchased from Qualtrol Electronics, a military subcontractor in the area. Qualtrol had built the earlier Earth Sound Research amps, and they liquidated the stock when that company folded.
for the time.
While some Earth amps looked similar to early Peavey amps, most are covered in the beautiful tuck-and-roll style we associate with Kustom amps. This is interesting, because Earth amps were built using surplus parts sourced from the defunct Plush Electronics Company, another manufacturer of tuck-and-roll beauties. (In the words of my friend Andy Fuchs, “It's all part of the New York/New Jersey incest of guitar amp companies that came and went over the years.") Anyway, the Tusc company only lasted a few years. Near the end it relocated to Clifton, New Jersey, and produced the DF-55, a Portaflex-style bass amp, in conjunction with Jess Oliver, the original Ampeg Portaflex designer.
Now let's see if we can troubleshoot your piece of amp history.
The only thing I know is that the amplifier is dead, so let's start with the basics. First, let's check the speakers. If you don't have a multimeter to check their resistance, the quickest way to see if they're working is with a 9V battery. Touch one battery terminal to the sleeve of the speaker plug and the other to the tip. If you hear a thud and the speakers move, they should make some sort of sound if the amp is working.
Now on to the amp itself. First, pull all the tubes. Now, does the pilot light come on when you switch the amp on? If not, check the fuse.
Photo 2
Next, see if the amp powers up in standby. If so, we can move on. If not, there's a problem in the main part of the high-voltage power supply. Or, since this amp also has solid-state circuitry, there may be a problem in the low-voltage supply. In the high-voltage supply, either one or more of the diodes are shorted, or one or more of the main 100 uf 450V caps are shorted (Photo 1). In the low-voltage supply, it could be the diodes, caps, or transistors (Photo 2).
Photo 3
If the amp powers up in standby, put it in operate and see what happens. If it blows the fuse, there's a problem with the remaining filter caps in the high-voltage supply (Photo 3).
Photo 4
If you've gotten this far, reinstall the tubes and see what happens. With the amp off, install one pair of output tubes, one in a left socket and one in a right socket (Photo 4). (It doesn't matter whether it's the two inside or two outside sockets.) Turn the amp on, let it warm up, and then switch to standby. If the amp stays on, you may get a little hiss from the speakers. Power down, remove those two tubes, and repeat the procedure with the other two power tubes. If all is good again, then the output tubes are probably functioning.
Next, reinstall the two preamp tubes. At this point, either the amp is working, or it's on but has no sound. If no sound, try replacing each preamp tube to see whether that cures the problem. If not, with the amp on, plug your guitar into the effect loop return jack and turn the master volume up. If you have sound, then the output stage is performing properly, even though the front-panel controls aren't presently working. That means the problem is in the front end. If there's no sound, there may be a transformer issue, and you need to start checking both the high voltages and the low-voltage supplies for the IC chips.
Photo 5
If all voltages are good, then the problem is probably one of the 8-pin audio op-amps. I suggest replacing IC 1 thru IC 5 first (Photo 5), as they are in the primary signal path. It might be fun to install sockets and experiment with other compatible dual op-amps (such as the 1458, 4558, TL072, or TL082). They all sound a bit different, especially overdriven. You can also try different preamp tubes, such as the 12AX7, 12AT7, and 12AU7.
I haven't covered every possible failure, but hopefully these tips will help you sharpen that Tusc!
Metalocalypse creator Brendon Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great.
Slayer guitarists Kerry King and Jeff Hanneman formed the original searing 6-string front line of the most brutal band in the land. Together, they created an aggressive mood of malcontent with high-velocity thrash riffs and screeching solos that’ll slice your speaker cones. The only way to create a band more brutal than Slayer would be to animate them, and that’s exactly what Metalocalypse (and Home Movies) creator Brendon Small did.
From his first listen, Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great. Together, we dissect King and Hanneman’s guitar styles and list their angriest, most brutal songs, as well as those that create a mood of general horribleness.
This episode is sponsored by EMG Pickups.
Use code EMG100 for 15% off at checkout!
Learn more: emgpickups.com
The legendary German hard-rock guitarist deconstructs his expressive playing approach and recounts critical moments from his historic career.
This episode has three main ingredients: Shifty, Schenker, and shredding. What more do you need?
Chris Shiflett sits down with Michael Schenker, the German rock-guitar icon who helped launch his older brother Rudolf Schenker’s now-legendary band, Scorpions. Schenker was just 11 when he played his first gig with the band, and recorded on their debut LP, Lonesome Crow, when he was 16. He’s been playing a Gibson Flying V since those early days, so its only natural that both he and Shifty bust out the Vs for this occasion.
While gigging with Scorpions in Germany, Schenker met and was poached by British rockers UFO, with whom he recorded five studio records and one live release. (Schenker’s new record, released on September 20, celebrates this pivotal era with reworkings of the material from these albums with a cavalcade of high-profile guests like Axl Rose, Slash, Dee Snider, Adrian Vandenberg, and more.) On 1978’s Obsession, his last studio full-length with the band, Schenker cut the solo on “Only You Can Rock Me,” which Shifty thinks carries some of the greatest rock guitar tone of all time. Schenker details his approach to his other solos, but note-for-note recall isn’t always in the cards—he plays from a place of deep expression, which he says makes it difficult to replicate his leads.
Tune in to learn how the Flying V impacted Schenker’s vibrato, the German parallel to Page, Beck, and Clapton, and the twists and turns of his career from Scorpions, UFO, and MSG to brushes with the Rolling Stones.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Katana-Mini X is designed to deliver acclaimed Katana tones in a fun and inspiring amp for daily practice and jamming.
Evolving on the features of the popular Katana-Mini model, it offers six versatile analog sound options, two simultaneous effects, and a robust cabinet for a bigger and fuller guitar experience. Katana-Mini X also provides many enhancements to energize playing sessions, including an onboard tuner, front-facing panel controls, an internal rechargeable battery, and onboard Bluetooth for streaming music from a smartphone.
While its footprint is small, the Katana-Mini X sound is anything but. The multi-stage analog gain circuit features a sophisticated, detailed design that produces highly expressive tones with immersive depth and dimension, supported by a sturdy wood cabinet and custom 5-inch speaker for a satisfying feel and rich low-end response. The no-compromise BOSS Tube Logic design approach offers full-bodied sounds for every genre, including searing high-gain solo sounds and tight metal rhythm tones dripping with saturation and harmonic complexity.
Katana-Mini X features versatile amp characters derived from the stage-class Katana amp series. Clean, Crunch, and Brown amp types are available, each with a tonal variation accessible with a panel switch. One variation is an uncolored clean sound for using Katana-Mini X with an acoustic-electric guitar or bass. Katana-Mini X comes packed with powerful tools to take music sessions to the next level. The onboard rechargeable battery provides easy mobility, while built-in Bluetooth lets users jam with music from a mobile device and use the amp as a portable speaker for casual music playback.
For quiet playing, it’s possible to plug in headphones and enjoy high-quality tones with built-in cabinet simulation and stereo effects. Katana-Mini X features a traditional analog tone stack for natural sound shaping using familiar bass, mid, and treble controls. MOD/FX and REV/DLY sections are also on hand, each with a diverse range of Boss effects and fast sound tweaks via single-knob controls that adjust multiple parameters at once. Both sections can be used simultaneously, letting players create combinations such as tremolo and spring reverb, phaser and delay, and many others.
Availability & Pricing The new BOSS Katana-Mini X will be available for purchase at authorized U.S. Boss retailers in December for $149.99. For the full press kit, including hi-res images, specs, and more, click here. To learn more about the Katana-Mini X Guitar Amplifier, visit www.boss.info.
Snark releases its most compact model ever: the Crazy Little Thing rechargeable clip-on headstock tuner.
Offering precise tuning accuracy and a super bright display screen, the Crazy Little Thing is approximately the size of your guitar pick – easy to use, unobtrusive and utterly dependable.
Housed in a sturdy shell, the Crazy Little Thing can be rotated for easy viewing from any angle, and its amazingly bright display makes it perfect for the sunniest outdoor stages or the darkest indoor studios. You can clip it to the front of your headstock or on the back of your headstock for extra-discreet usage – and you can easily adjust the display to accommodate your preference.
As the newest addition to Snark’s innovative line of headstock tuners, the Crazy Little Thing is rechargeable (no batteries!) and comes with a USB-C cable/adapter for easy charging. Its display screen includes a battery gauge, so you can easily tell when it’s time to recharge.
The Crazy Little Thing’s highly responsive tuning sensor works great with a broad range of instruments, including electric and acoustic guitar, bass, ukulele, mandolin and more. It also offers adjustable pitch calibration: its default reference pitch is A440, but also offers pitch calibration at 432Hz and 442 Hz.
Snark’s Crazy Little Thing rechargeable headstock tuner carries a street price of $21.99. For more information visit snarktuners.com.