Exactly how does this glowing bottle affect your tone?
I'm often asked about tube rectification in guitar amplifiers. For many players, it's a subject that could stand a little deeper scrutiny from an engineering and design perspective. First, keep in mind that a tube rectifier is not an audio amplifying device. If no audio signal passes through it, how does it affect an amplifier's sound? Let's have a look.
Your amplifier's preamp and power tubes require a DC voltage to operate. The amplifier's power transformer converts the incoming AC line voltage to the levels required. The power supply rectifier, whether of the vacuum tube or silicon diode variety, converts the AC voltage to DC. That DC voltage is filtered and then sent along to the various amplifying stages to do their specific tasks.
The hard-working power supply must be able to deliver the amplifier's maximum continuous rated power for an extended period of time. Most well-engineered amplifiers can operate continuously at full power for hundreds of hours without generating sufficient heat to injure the operator or cause a component to fail. Even so, things do heat up.
A rectifier tube in a typical tube-rectified power supply: R1 and R2 represent the internal copper resistance in the transformer's primary winding, and R3 and R4 represent the same in the transformer's secondary winding. RA represents the tube's internal resistance between the anodes and the cathode. In a silicon-rectified power supply, RA is much lower and therefore produces less heat loss.
When you play at low volumes, you're not placing a great demand on your amplifier's power supply. At gig volume, however, you start drawing significant power from it. When you run the unit for several hours straight, the copper wire in the power transformer gets hot. Copper wire, being an imperfect conductor, exhibits resistance to current flow, and this inherent resistance causes the wire to heat up as the power demand increases. The resistance of a given length of wire is fixed, which means something has to give when the temperature goes up, and that something is voltage. As your power transformer heats up, the voltage it produces decreases. In a typical amp this decrease isn't large, but it's noticeable.
When we introduce a tube rectifier into the equation, the effect of heat-induced voltage loss is exaggerated. The reason is that the rectifier also has some internal resistance that contributes to a total drop of as much as 50 volts under full load. That's a lot. Silicon diodes overtook vacuum-tube rectifiers long ago because they were much less expensive and assembly was less labor intensive. But there was another reason: They're more efficient, due to low internal resistance. That difference in internal resistance means silicon and vacuum tube rectifiers are generally not directly interchangeable. Using a plug-in silicon device in place of a tube rectifier can cause excess DC to appear at the filter capacitors.
When you play at low volumes, you're not placing a great demand on your amplifier's power supply. At gig volume, however, you start drawing significant power from it.
A tube rectifier may make the cut when the goal is to produce a vintage-correct reproduction amp. Even though we can engineer a similar amount of voltage sag into the power transformer, purists may see the absence of the original part as a cop-out to save money, when, in fact, it may simply result in a more reliable, maintenance-free design. However, inducing sag into the transformer design can cause the temperature in the power transformer to increase more rapidly over time, in which case a larger, heavier, and more expensive part may be required to manage this drawback. In some cases, getting a power transformer design to conform to modern regulatory limitations can be simplified by using a tube rectifier to provide an easier path to safety compliance. We often see reissue amps that differ in performance from the originals simply because they have to clear regulatory hurdles that were non-existent at the time the originals were created. A crafty engineer can often find workarounds to such obstacles, and clever application of transformer technology and tube rectification are valuable tools in the kit.
In my experience, the most practical use of a tube rectifier is in dual-voltage power supplies, where a high- and low-power mode is required. For the high-power mode, a large, stable power transformer is necessary to meet maximum performance parameters. The downside? A high-capacity power transformer tends to yield stiffer performance when not running at or near maximum potential, such as in a low-power mode. This is where the tube rectifier really shines: It can be used to exaggerate the voltage sag in a power supply that would otherwise exhibit an unforgiving feel.
Whether the design objective is aesthetic, practical, or genuinely novel, it's good to have choices. Besides the satisfaction of seeing more glowing tubes humming away in our amplifiers, it's nice to know that players appreciate the extra effort involved in creating new designs around these familiar bottles.
[Updated 10/14/21]
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Learn how Adrian Belew's BEAT Tour came together to include Tony Levin, Danny Carey, and Steve Vai—plus King Crimson, Bowie, Zappa, Talking Heads, and more.
The BEAT Tour, featuring a superband of Adrian Belew, Tony Levin, Steve Vai, and Tool’s Danny Carey, begins on September 12 in San Jose, California, and continues into December, playing repertoire from King Crimson’s highly influential ’80s albums Discipline, Beat, and Three of a Perfect Pear. PG’s editorial director Ted Drozdowski sat down with Adrian in his home studio to talk about how these four great players came together, Adrian’s decades in Crimson, and Robert Fripp, Bowie, Zappa, Talking Heads, and more. Also, stay tuned for our exclusive Rig Rundown, coming soon!
Realistic and highly controllable Leslie sounds from an essentially easy-to-use stompbox. More control than some similar-priced models. Stereo ins and outs.
Drive control could be more responsive and, at higher settings, more subtle. Slow-fast switch’s multi-functionality can be initially confusing, so save the instructions.
$299
Keeley I Get Around Rotary Simulator
robertkeeley.com
A highly controllable, mid-priced rotary speaker simulator inspired by the Beach Boys that nails the essential character of a Leslie—in stereo.
There’s nothing cooler than using a Leslie cabinet in the studio, and few things worse than having to lug one to gigs. The famed Leslie 981, for example, weighs nearly 150 pounds. Enter the rotary speaker pedal—an easy-on-the-back alternative for players who are looking to conjure Leslie-derived guitar sounds employed on classic records by Hendrix, Pink Floyd, Led Zeppelin, the Beatles, and others.
California Roller
There are a lot of good options for on-the-floor rotary pedals between $99 and $549. At $299, Keeley Electronics’ new I Get Around Rotary Simulator falls in the middle of the pack on pricing but has an array of functions that make it competitive with costlier examples. The I Get Around is part of a collaboration between Keeley, JHS Pedals, and Benson amps, dedicated to creating five limited-edition effects in tribute to the Beach Boys. I can’t recall many Beach Boys tracks with Leslie-style guitar, but Brian Wilson did use the effect on brother Carl’s guitar on 1965’s “You’re So Good to Me,” and a year later on the song “Pet Sounds.”
At 5" x 4" x 2", the I Get Around is a little larger than the average stompbox, but that’s necessary to accommodate the three big dials on top (blend, drive, and speed) as well as the on/off (which also works to select true bypass or buffered mode) and slow-fast switches, plus the stereo inputs and outputs. Using two amps in stereo makes the flutter and warble of the rotary sound more pronounced and immersive. It’s truly psychedelic. There’s also a toggle that adds a 4.5 dB mid-boost, which fattens and tightens the tone enough for me to simply want to leave that boost engaged all the time.
How I Got Around
I ran the I Get Around—powered by a 9V barrel connector at 130 mA— through a pair of Carr amps, playing a Gibson Les Paul Standard and a PRS SE Silver Sky, and blended the pedal with overdrive, fuzz, and delay as I experimented. I love the extra-large size of the speed control, which let me adjust the rate of simulated rotation at a whim with my shoe. The speed’s range is .06 Hz to .6 Hz, with 1 Hz being one revolution per second, and all the speed settings sound great and conjure the vibes you’d want from a Leslie, from velvet-painting dreamscapes to edgy, breathless Robert Ward- and David Gilmour-style psychedelic blues. Add a little delay and the sound becomes spongier and stranger, but too much, of course, can turn things to muck, as can an overbearing fuzz.
The drive control is a subtle overdrive that simulates a pushed 6550 and 12UA7 tube. At moderate amp volume, it doesn’t add much discernable grit until about 9 o’clock. Past 2 o’clock it rolled off enough top end to make my guitar sound less potent. But between those demarcations lies a very sweet spot for adding beef. The blend control starts being effective at about 8 o’clock, when the first hints of the rotary sound become a backdrop for the guitar’s voice, and then it's just a matter of turning up to taste—including cranking all the way clockwise to entirely eliminate your core guitar sound in favor of the rotary effect alone. For my taste, the best overall sounds were achieved with subtle-to-pronounced blends, between 9 o’clock and a bit past 2, that added rotary effect to my always-present basic guitar tone, thickening, supporting, and swirling behind it.
The slow-fast switch is all about drama. It allows toggling between two speed settings, and when it’s held down it stops the rotating speaker effect, which resumes when the switch is pressed again. The ramp rate can be customized as well. I like it slow, so the activation of the swirl is audible.
The Verdict
Keeley’s new I Get Around Rotary Simulator commands all the essential sounds you’d want from an actual Leslie. Unlike some pedals in its price range, it’s got stereo outs, which, to my thinking, are essential, because the rotary effect sounds best through guitar amps run in stereo. Also, the deep functionality beyond the basic adjustments of the three topside dials is attractive, adding more Leslie-like realism. There are cheaper alternatives, but to find competitive or better examples, you’ll need to reach deeper into your pockets.
Keeley I Get Around Rotary Simulator Pedal - Sweetwater Exclusive, Limited Release
I Get Around Rotary SimulatorOur columnist’s musings on honey bring him back to a forgotten little guitar company in Japanese history that didn’t last very long, but produced some interesting models.
One of the guys I work with is such an interesting fella. Dylan has an opinion on literally every topic, and I take amusement by asking him all sorts of probing questions.
For instance, he only wears t-shirts made from a certain blend (I’ll wear anything), and he likes smoke-infused whiskey (I drink mine straight), and he can go into great detail about an array of things like infusers, griddles, recording software, artificial intelligence, and the list just goes on and on. It seems like I, on the other hand, only have a certain amount of brain bandwidth and I don’t really ponder things of the material world, unless it’s guitar-related.
Recently, he was telling me about the rise of hot honey! He’s always telling me about recipes and how he uses it, but I have to say, anything that’s hot always turns me off. I used to love heat and spice and I could really eat anything. Yours truly even won a chicken-wing-eating contest (101 wings, baby!) with scorching hot sauce. I can even remember working at a restaurant back in the day, and the cooks were always challenging me with hot-sauce concoctions. Even the Jamaican dudes there couldn’t believe how I could inhale heat without a tear. Alas, all the years of trashing my body eventually caught up with me, and now if I eat anything that’s spicy, my belly and bowels just give up the ghost.
So, all this talk with Dylan about hot sauces and hot honey got me thinking about the old guitar brand, Honey. Looking back, I can’t believe I’ve never written about the little company before, but it was just a blip in guitar history—albeit a cool blip.
The story goes that in 1965 the Japanese guitar company Kawai had purchased the Teisco company. Teisco had its headquarters in Tokyo and made mostly electronics there. The wood production was done at a plant called Teisco Gen Gakki, which was located near Matsumoto City. Within a year or so, Kawai brought all-wood production to its own plant and Teisco Gen Gakki went idle.
Some former Teisco employees, who had mostly lost their jobs in this production shift, decided to make a go of their own at the guitar business. From this time, we see the brands Firstman, Idol, and Honey. The Honey Company made all sorts of products, including amps and guitars, and the company only sold in the Japanese market. Honey had a few wild designs, but mostly the guitars were copies of Rickenbacker, Gibson, and Höfner. But then there were these crazy one-off models, like this Honey Happening guitar from 1968. I’ve never seen another one and the only photos I can find online are all of this same guitar! One of my good Japanese friends gifted this to me.
The Happening takes its name from common terminology of the time, like, “It’s what’s happening,” meaning “hip” or “cool,” but this one is one of the coolest, with that elongated upper bout contrasting a super-short lower one. It has a Bigsby copy resting on the beveled-out section at the butt, which is another detail that’s rarely seen. If you check out the pickguard, there’s a cute little bumblebee there with “happening” written across in an old typeface. The headstock design is also noteworthy, featuring an extra-large truss-rod cover with two little diamond-shaped accents.
This solidbody is powered by two sizzling pickups that are Mosrite copies. It has a stinging sound—sorry—and sets up well with the adjustable bridge. Electronics round out with simple volume/tone knobs and a 3-way pickup selector switch. The only part I personally dislike on this guitar is the tuners, which can be finicky. But the guitar itself is surprisingly well-balanced and is a joy to play.
The Honey Company started business in early 1967 but was bankrupt in March of 1969. All Honey guitars and amps are extremely hard to find today, and if you have a good example, consider yourself one of the lucky ones. So instead of hot honey, let’s give a little props to a cool Honey.
1968 Honey Happening Guitar Demo
Frank’s friend Mike Dugan demos the Honey Happening 6-string.
Discover the SoloDallas Orbiter Fuzz, a meticulously crafted effects pedal designed to blend genuine vintage tones with user-friendly versatility.
Building upon the legacy of the 1966 Arbiter Fuzz, the Orbiter Fuzz enhances this classic circuit with advanced fine-tuning circuitry.
Key Features:
- Vintage Tone: The Orbiter Fuzz delivers smooth, musical fuzz tones with cutting sustain, offering immediate inspiration.
- Vintage Power: Our unique power circuit internally converts modern wall power to emulate the draw of a vintage carbon zinc battery.
- "Sweet Spot" Dial: An internal mini potentiometer allows you to dial in the perfect impedance response for your favorite pickups.
Versatile Controls:
- FUZZ: Adjusts the overall amount of fuzz by shaping the signal’s waveform from triangular to square as the knob is turned clockwise.
- GAIN: Increases the amount of signal entering the circuit, pushing it into harmonic clipping for smooth overdriven fuzz tones.
- BIAS: Modifies voltage to the matched pair of transistors, unleashing a wide range of vintage fuzz tones. Lower voltages produce spitty Black Keys responses, while higher voltages create smooth American Woman fuzz.
- Compact Design: Optimized for pedalboard space and easy integration with any standard pedal.
- Durable Construction: Crafted for reliability to withstand rigorous touring conditions.
Technical Specifications:
- Input Impedance: 500 kOhm
- Output Impedance: 10 kOhm
- Power Requirements: External 9V DC center-negative power supply
- Dimensions: 4.75" x 2.50" x 1.5"
- Weight: 0.8 lbs
- Bypass: True bypass
Design Details:
- Custom Artwork: Retro space-age design that pays homage to the Arbiter’s flying saucer enclosure.
- High-Quality Housing: Durable reinforced steel enclosure with a vintage metallic blue hammered finish.
Why You Need the SoloDallas Orbiter Fuzz Pedal:
A great fuzz pedal is essential for every guitarist and bassist. The Orbiter Fuzz offers the smooth, singing fuzz tone every musician dreams of, combining musicality with the reliability you need. If you’re looking for a pedal that excels in both sound and style, the Orbiter Fuzz is a must-have. Complete your search for the perfect fuzz pedal with the Orbiter Fuzz.
Arriving on Planet Earth 9/1/24! The Orbiter Fuzz will be available for purchase exclusively at SoloDallas.com starting September 1, 2024. The first 100 orders will include a SoloDallas swag pack guaranteed to impress. All SoloDallas orders ship within 24 hours.
Price: $249 USD.