Darwins review is wrong!

Here is a quote from his review that is an inadequte explanation and a simplistic criticism from his obvious limited tube amplifier knowledge based on this statement-

“states, in the first chapter, that the reason tubes amps sound so good, in the early days, is the fact that they used diode tubes in the early supplies. When current was drawn across the tube, it developed a voltage drop which causes the output tube voltage to sag, thereby causing a mid-rangey distortion type.”

Darwin mentions Webers book stating that the reason vintage amps have better tone due to something called “Diode Tubes”. This is your first clue that this review is based on his limited knowledge and is not technically accurate for its simplicism. No where in the book does this term appear.

This book is an excellent read and chock full of information for an amatuer or even a pro looking to gain additional knowledge specifc to fender in addition to some of Webers observations which in my opinion are as valid as anyone out there.

Where Darwin reallys goes wrong in his review is in summing up how Weber relates his opinion on why vintage amps sound as they do and are coveted for their tone.

Let me sum up Webers reasoning for you-

1) lower tube operating voltages, both preamp and output found of some older vintage amps, specifically tweed amps

2) simpler designs (fewer rc coupled gain stages) means lower tonal losses

3) paper interleaved output transformer in contrast to plastic bobbin ot’s found on modern amps

4) capacitors that were of higher quality and/or more pleasing when used in tube guitar amps in contrast to some caps more suited for use in audio

5)cathode biasing of output sections

6) tube rectification

7) cabinet materials and design

differences in vintage speaker components versus today

If you want to expand on these points in more depth while applying this to Fender amps specifically, then this book is for you. Despite this book detailing Fender designs, the knowledge herein can be applied universaly.

The book is also chock full of schematics, questions submitted by Kendrick devotees which Weber answers and this section alone can serve as a database of troubleshooting tips which can assist one in diagnosing your own amp problems while expanding your knowledge.

The fact that Darwin does not even mention the Trainwreck Pages section tells me he has never heard of Ken Fischer who contributed this section and who has left a legacy of hand crafted reference tube guitar amplifiers that are coveted universally.

Dont base your decision to purchase this book based on a review by someone who apparently has not read it or does not understand tube guitar amplification, you would be missing a good read and informtion assembled over Webers and Fischers career.

The only other way to get this knowledge is to actively work at it for the same 40 years as both of these gentlemen have.

Here are some examples of the misinformation I found in the book:

He states, in the first chapter, that the reason tubes amps sound so good, in the early days, is the fact that they used diode tubes in the early supplies. When current was drawn across the tube, it developed a voltage drop which causes the output tube voltage to sag, thereby causing a mid-rangey distortion type.

While the action (dropped voltage across the output tubes) is true, the explanation behind it, is not.

The real issue, here, is the fact that the power supplies, back then, were not stiff supplies. They didn’t have enough capacitance in the output filters to compensate for loading issues (i.e. instantaneous current draw). The newer supplies are much “stiffer” and they regulate better. A solid-state supply could be made to match the older vacuum tube supplies.

There are other obvious electronic explanations, in the book, that do not follow real physics and/or electronics models. What he is saying about the final result in the amplifiers sound quality and operational charactaristics is correct, however, the explanation of how it really works is not correct.

If you’re into vintage amps, modifications, or just building one from the schematics Gerald has done an awesome job compiling information. He’s got great, readable schematics, layout diagrams, etc. in the book. It’s a bit biased toward Fender, however.

He also has some great historical information, as it relates to the Fender amps, as well.

Overall, I think the book is good. It’s just hard to read because of the indescrepancies in the electronics section.