Forum for professional and amateur recording, mixing/mastering engineers to share techniques and advice. Shortwave preconverter for long/medium wave automobile radios, 12V, negative earth, transistorised. 6BE6, 6BZ6, 2xEF89, 12AX7, ECL86/6GW8. Telefunken compatible. Click to expand.More highs: try the ribbed-plate Telefunken, long-plate Siemens, Raytheon black-plate More lows: many choices here, as the smooth-plate T-Funk hasn't much girth in the lows. RCA short-plate 12AX7A has huge lows, but Mullard long-plate 12AX7 does lows with style Greater clarity: also many choices; I've found smooth-plate Telefunken to only have medium clarity. The ribbed-plate T-Funk has greater clarity, in my experience. You want ultimate clarity? Ken-Rad 12AX7 does that for me, and the Ken-Rad has an extended frequency range (higher highs, lower lows) than the T-Funk. Black-plate RCA 12AX7 are another classic choice that have greater clarity. Don't know how that translates for guitar use, so I'll pass on that one. Where the Telefunken smooth-plate excels, in my experience, is a certain band of high-mids that no other 12AX7 type hits without also having piercing treble. I've found another sonic aspect of 12AX7 performance to be very important: harmonic content. This is a kind of distortion, even if the amp does not sound overdriven. Philips style tubes (Mullard, Siemens, Valvo, Amperex/Miniwatt) display this character more than '60s RCA and GE, for example. For your Pro Reverb, I would suggest avoiding the high harmonic content tubes, in order to obtain a more classic BF Fender sound. A good Telefunken smooth-plate will sound better, in my experience, than the best long-plate 12AX7 types from Philips companies in a BF Fender style amp. That Ken-Rad that I mentioned will beat the pants off the smooth-plate Telefunken for clarity and frequency extension, but I don't recommend it for the Pro Reverb application, due to earlier breakup, and harmonic content. Yes - there is no best. Click to expand.Those black-plate Tung-Sol 12AX7 are from the very earliest 12AX7 days; early-'50s at the latest. They're excellent: TGP's Rockon1 and Jeff West turned me on to those, and I'm ever grateful for that opportunity. Those Tung-Sol sound virtually indistinguishable from the earliest RCA 12AX7 from the late '40s, but are not the same as '50s black-plate RCA 12AX7 ('50s have thicker lows, earlier breakup). The 3D/ soundstage terminology all falls under the 'clarity' category, in my lexicon - I liken the experience to being able to hear more deeply into the soundscape. It is like gazing into the depths of Lake Tahoe, when you're used to the Gulf of Mexico (representing current production options, like JJ). Since you're attuned to that '3D' quality, I'd recommend you steer away from '60s short-plate Mullard 12AX7A and save up for the earlier long-plate 12AX7 for a deeper sounding treat. Also, on the Ei, the pre-war versions, with Philips style factory and date markings on the lower edge of the glass would be my recommendation (Ei factory symbol is a circle that is broken at the bottom, with a dot in the center). Consider trying early-'50s Sylvania long black-plate 12AX7 for a very balanced, later-breakup, ultra-clear option. They're great for BF Fender, IMO. Those black-plate Tung-Sol 12AX7 are from the very earliest 12AX7 days; early-'50s at the latest. They're excellent: TGP's Rockon1 and Jeff West turned me on to those, and I'm ever grateful for that opportunity. Those Tung-Sol sound virtually indistinguishable from the earliest RCA 12AX7 from the late '40s, but are not the same as '50s black-plate RCA 12AX7 ('50s have thicker lows, earlier breakup). The 3D/ soundstage terminology all falls under the 'clarity' category, in my lexicon - I liken the experience to being able to hear more deeply into the soundscape. It is like gazing into the depths of Lake Tahoe, when you're used to the Gulf of Mexico (representing current production options, like JJ). Since you're attuned to that '3D' quality, I'd recommend you steer away from '60s short-plate Mullard 12AX7A and save up for the earlier long-plate 12AX7 for a deeper sounding treat. Also, on the Ei, the pre-war versions, with Philips style factory and date markings on the lower edge of the glass would be my recommendation (Ei factory symbol is a circle that is broken at the bottom, with a dot in the center). Consider trying early-'50s Sylvania long black-plate 12AX7 for a very balanced, later-breakup, ultra-clear option. They're great for BF Fender, IMO.
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Март 2019
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