If you play through a tube amp, here’s some upkeep knowledge to help in the quest of great tone.
Jeff,
I always enjoy reading your column and I have a suggestion for a future Ask Amp Man. The subject would be the care and feeding of your tube amp—or something similar. I started working with tubes in the early ’60s in high school. I’m now a retired electrical engineer but still enjoy tinkering with and repairing tube amps (and of course playing through them). I still have my old RCA and GE tube manuals and two ancient tube testers. While there’s a lot of information available on the web, there is a lot of misinformation as well. Some questions you might answer:
How often should I replace the tubes?
Does the phase inverter need to be replaced when I replace the output tubes?
In a 100-watt amp, do I have to replace all four output tubes (or six, as in my Peavey Mace) with a matched set if only one tube is bad?
Does the grid bias need to be reset every time I replace the tubes?
Do I need to replace them with the same brand tubes?
How can I tell if I have a cathode-biased amp?
Is measuring the control grid voltage an acceptable way of setting the bias?
Most guitarists I know play their amp until it sounds real bad or the fuse blows, and then turn it over to me. A little knowledge might help them avoid some trouble.
Keep up the good work,
Dave Cooley
Thanks, Dave. I selected your question for this issue because I thought it might be timely. Some players may have gotten a new or used tube guitar amp from Santa, and it could possibly be their first foray into the wonderful world of tubedom. Knowing what you have and how to treat it can be a key factor in having the best possible experience, so with the help of your questions I’ll try to impart some good information for those in need. Let’s tackle them one at a time.
How often should I replace tubes? This is a great question that has no absolute answer. Regarding output tubes, I generally tell players the typical tube life for the glowing bottles produced today is approximately six months to two years, depending on use. How long and how loud you play will affect tube longevity, and some brands more than others. Larger bottle tubes—such as the 6L6, 6550, KT66, KT88, and EL34—tend to fall on the longer side, while smaller tubes like the EL84 and 6V6 tend to wear out sooner. It’s always a good idea to carry a spare set with you, as you never know when a failure may occur. With regards to preamp tubes, I feel it’s okay to run them until they start making noises that no longer resemble a guitar, but if you get to the point where they’ve been in the amp for five or 10 years, you might want to consider replacing them, too.
Does the phase inverter need to be replaced when I replace output tubes? Personally, I say no. The phase inverter does drive the output tubes, but it doesn’t suffer the wear and abuse that output tubes endure. I treat it like any other preamp tube. If it’s problematic, I replace it.
Do I have to replace all output tubes in a 100-watt amp with a matched set if only one tube is bad? In a perfect world, I’d say yes. But I’m a practical guy and I always look at this on a case-to-case basis. If the tubes in the amp aren’t too terribly old or don’t have too many hours on them, you can opt for just replacing a pair. Just remember, most amps have what’s known as a push/pull output stage, where each side (either one tube, two tubes, or even three tubes in the case of your Mace) is amplifying half the signal, so you should replace the bad tube plus one from the other side, in order to keep the output stage as balanced as possible.
Does the grid bias need to be reset every time I replace the tubes? If you’re replacing all the output tubes, then yes, I would highly recommend it. Properly biasing output tubes will let your amp sound its best and can also extend tube life. If, as in the above answer, you’re replacing only some of the output tubes, then biasing all the tubes the same may not even be possible, as there is generally one bias adjustment that controls the bias voltage to all the tubes. As with any output tube replacement, I always recommend matched sets, as this helps keep the output stage balanced and will yield the least hum from the output stage.
Do I need to replace old tubes with the same brand? If you’re replacing only some of the output tubes, then I highly recommend trying to find the same type of output tube that’s currently installed in the amp. This will give you the best chance of the new tubes running close to the bias current of the installed tubes. If you’re replacing all the tubes, then absolutely not. There are quite a few selections for each type of output tube, and tubes produced by different manufacturers in different countries sound different. If you have the luxury of auditioning different types of output tubes, do yourself a favor and experiment. You might find something that better suits your taste or expectations.
Photo by Andy Ellis.
How can I tell if I have a cathode-biased amp? Just by looking at the amp, you can’t. However, if you’re handy with a multi-meter, there is a way. You can measure resistance between the cathode pin of one of the output tubes and ground. On large octal sockets for most standard output tubes, this will be pin 8. On a 9-pin socket for an EL84-type tube, this will be pin 3. If you measure zero resistance, the amp is grid biased. If you measure in the area of approximately 50 to 250 ohms, the amp is cathode biased. Unless there is a problem with the amp, this should hold true, with the exception of some late-’60s Fender amps, which exhibit both grid- and cathode-bias characteristics.
Is measuring the control grid voltage an acceptable way of setting the bias?No. Some schematics do show a bias voltage reading, but in almost all cases this is merely a reference for troubleshooting in order to determine if the voltage is in the ballpark. It’s always best to measure the actual bias current flowing through the tube at idle. Quite a few companies offer bias meters that include an assembly that is inserted between the tube and socket to measure the actual bias current. This procedure is irrelevant on cathode-biased amps, as these are also known as self-biasing and are generally not adjustable.
Well, PG readers, there you have it. There can be exceptions, exclusions, and further explanations, but I hope this helps some of you understand a bit more about what to expect from your tube amp and what it expects from you. Let’s keep those tubes glowing!Trey Anastasio unveils plans for a special solo acoustic run starting in March, 2025.
The tour gets underway March 8, 2025 at Springfield, MA’s Symphony Hall and then visits US theatres and concert halls through early April. Real-time presales begin Wednesday, December 4 exclusively via treytickets.shop.ticketstoday.com. All remaining tickets will go on sale to the general public on Friday, December 6 – please check venues for on-sale times. For complete details, please see trey.com/tour.
TREY ANASTASIO - SOLO ACOUSTIC TOUR 2025
MARCH
8 – Springfield, MA – Symphony Hall
9 – Boston, MA – Wang Theatre at Boch Center
11 – Wilkes-Barre, PA – The F.M. Kirby Center
12 - Rochester, NY - Kodak Hall at Eastman Theatre
14 – Columbus, OH – Mershon Auditorium
15 – Milwaukee, WI – Riverside Theater
16 – Nashville, IN – Brown County Music Center
18 – Chicago, IL – Orchestra Hall
19 – Kansas City, MO – Uptown Theatre
21 – New Orleans, LA – Saenger Theatre
22 – Birmingham, AL – Alabama Theatre
23 – Nashville, TN – Ryman Auditorium
26 – Orlando, FL – Walt Disney Theater at Dr. Phillips Center for the Performing Arts
28 – Clearwater, FL – Ruth Eckerd Hall
29 – Savannah, GA – Johnny Mercer Theatre
30 – Charleston, SC – Gaillard Auditorium
APRIL
1 – Knoxville, TN – Tennessee Theatre
2 – Greenville, SC - Peace Concert Hall
4 – Washington, DC – Warner Theatre
5 - Red Bank, NJ - Count Basie Center for the Arts
More info: TREY.COM.
Watch John Bohlinger and Fender’s mad scientists dissect and rip away at Jack White’s new trio of visionary, eclectic, and multi-dimensionally magical electric, amp, and acoustic-electric.
Fender Jack White Triplecaster Telecaster Electric Guitar - Black
Jack White Triplecaster, BlkFender Limited-edition Jack White Triplesonic Acoustasonic Telecaster - Blacktop Arctic White
Jack White Am Acous Tele LTD, Satin ArGibson Band Featuring Slash, Duff McKagan, and Cesar Gueikian Announce Benefit Single
100% of "I Can Breathe" song proceeds to benefit the National Alliance on Mental Illness, NAMI.
On Giving Tuesday, Gibson announces a new release from the Gibson Band--a revolving collective of musicians who join together to make music and raise funds and awareness for worthy causes.. A hard-hitting rock song, the new benefit single “I Can Breathe” features rhythm guitars and piano from Cesar Gueikian, CEO of Gibson, with special guests Duff McKagan on lead vocals and lyrics, and Slash on lead guitar and solos. 100% of the proceeds from the sale of the song “I Can Breathe” will benefit the National Alliance on Mental Illness (NAMI), through Gibson Gives. NAMI is the nation’s largest grassroots mental health resource organization that is dedicated to building better lives for the millions of Americans affected by mental illness.
On “I Can Breathe” Duff McKagan crafted the lyrics and is featured on lead vocals, Cesar Gueikian wrote the music and played rhythm guitar and piano, and Slash wrote and played thelead guitar and solos, while Jota Morelli (drums), and Seta Von Gravessen (bass) rounded outthe group in the studio. The music was recorded by Cesar at La Roca Power Studio in BuenosAires, Argentina, vocals were recorded by Duff at the Sound Factory in Los Angeles and leadguitars and solos by Slash in Los Angeles. The track was produced by Cesar Gueikian and JorgeRodriguez with collaboration from Pablo Toubes and Francisco Trillini, and mixed and masteredby Greg Gordon. A special thanks goes to Gonzalo Riviera Villatte, Gina Furia, and guitar techLisardo Alvarez for all his work at La Roca Power Studio.
Gibson Records, Duff McKagan, Slash, and Cesar Gueikian, will donate 100% proceeds from thesale of “I Can Breathe,” in addition to all auction funds raised to the National Alliance on MentalIllness (NAMI), through Gibson Gives. NAMI is the nation’s largest grassroots mental healthresource organization that is dedicated to building better lives for the millions of Americans affectedby mental illness. NAMI’s mission is to create a world where all people affected by mentalillness live healthy, fulfilling lives supported by a community that cares.
“It was such a pleasure to work with Cesar and his whole crew on this tune,” says Duff McKagan.“The musical slant and progressive rock-ness of this huge epic pushed me in a whole new direction. Ilove a challenge and Cesar killed it! Most importantly, to be of service for mental health issues andawareness is super important to me at this time. Let’s rock!”
“Cesar and Duff came to me with a really cool piece of music,” adds Slash. “I loved the riff idea, andDuff's vocal, so I felt right at home on the track.”
“Guns N’ Roses had a profound influence on me and my guitar playing, so having the opportunity towrite and record this song with Slash and Duff is a dream come true, and it’s an honor to call themfriends and partners,” says Cesar Gueikian, CEO of Gibson. “’I Can Breathe’ started as aninstrumental track I recorded at La Roca Power Studio in Buenos Aires. Upon listening to the mix thatGreg Gordon put together, Jenny Marsh (Global Director of Cultural Influence at Gibson) suggestedDuff as lyricist and vocalist. Guns N’ Roses had just come off touring when I shared the song withDuff, he loved it and quickly wrote the lyrics and cut the vocals at the Sound Factory in Los Angeles.Having Duff on vocals made the next step obvious, which was asking Slash if he would collaboratewith lead guitars and solos. Both Duff and Slash transformed the track from a collection of riffs to agreat song! While Greg Gordon’s mixing and creativity tied it all together. I am grateful for thecollaboration from Slash, Duff and Greg, and from my friend Serj Tankian’s participation with coverartwork. I’m thrilled we are donating all proceeds from the song to a great and relevant cause.”
Made in close collaboration and with significant input from Jimmy Page, the Jimmy Page EDS-1275 uses new 3D scanning technology to aid in handcrafting an effective clone of his original EDS-1275.
There are very few guitars that can claim to be as instantly recognizable and iconic as Jimmy Page’s 1969 EDS-1275 Doubleneck. The photos of him playing it on stage with Led Zeppelin are indelible to rock ’n’ roll history. While Gibson has been making doubleneck electric guitars since 1958, Jimmy was the player who defined the EDS-1275 from the day it was delivered to him. Introducing the Jimmy Page EDS-1275 Doubleneck VOS, now part of the Gibson Custom core lineup and built to the exact specifications of Jimmy’s iconic EDS-1275 Doubleneck.
The Jimmy Page EDS-1275 features a double-cutaway one-piece mahogany body that provides exceptional access to the full length of both the12-string and six-string mahogany necks. Both necks have long tenons and are hide glue fit, and the neck profiles are recreated from 3D scans of the necks on the original guitar. The necks are both capped with bound Indian rosewood fretboards. Each fretboard is equipped with 20 authentic medium jumbo frets and adorned with aged cellulose nitrate parallelogram inlays. The fretboards of both necks have a 12” radius, which is perfect for both playing chords as well as for string bending while soloing. The 18 tuners are Kluson double line, double ring style, just like those found on the original guitar, and even the headstocks feature the correct 17-degree angle and specific logo stylization found on Jimmy’s EDS-1275. The electronics are just as authentic and deliver all of the sonic character of Jimmy’s legendary EDS-1275. Two uncovered Jimmy Page EDS-1275 Custombuckers with double black bobbins and Alnico 5 magnets are used for the two six-string pickups, while a covered pair is installed on the 12-string neck. Of course, the two volume and two tone controls use CTS potentiometers and period-correct ceramic disc capacitors, and the pickup select switch, neck select switch, and output jack are all from Switchcraft.
Here is your opportunity to own a clone of Jimmy Page’s famous EDS-1275, identical to how it appeared on the day that Jimmy first received the guitar. A Gibson Custom hardshell case is included, along with a vintage leather strap, and a certificate of authenticity with a photo from famed photographer Barrie Wentzell.
Jimmy Page EDS-1275 Doubleneck VOS '69 Cherry
Recreation of the EDS-1275 used by Jimmy Page made using 3D scans of the original guitar, one piece mahogany body, mahogany six and 12-string necks with custom Jimmy Page profiles, Indian rosewood fretboards, Jimmy Page Custombucker pickups with Alnico 5 magnets and double black bobbins, Gibson Custom hardshell case