Mesa/Boogie Vacuum Tube Audio owner manual Cathode resistor, Class a Operation

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5 - 4 AUTO BIAS: ( Continued )

Note that the voltage relationship between the three elements is similar and that the difference between cathode and the grid voltages is the same in both examples: The grid is 50 Volts more negative or less positive in both. Thus as far as the electrons are concerned, the static operating conditions between the two systems are quite similar.

Cathode

...........................................+ 50 (voltage generated across

 

cathode resistor)

Plate

+ 450

Grid

0

However, there are two important differences between the systems. First, if the tube in the cathode biased system tries to draw too much plate current, the voltage drop across the cathode resistor increases, raising the positive cathode voltage. This has the same effect as would increasing the fixed negative bias voltage, only it happens automatically. Idle current through the tube decreases whenever the grid becomes more negative relative to the cathode. Only in the self-bias system it’s the cathode which becomes increasingly positive relative to the grid. Either way, the effect is identical.

In mechanical terms, cathode bias is like having a governor on an engine’s throttle: if the engine tries to speed up, the throttle is automatically reduced. If it tries to slow down, the throttle is increased.

If you wonder why every tube amplifier isn’t auto-biased, it is because this system is unable to deliver as much power from the same tubes and transformers as can the fixed bias method. The key to this short fall is apparent by looking at the voltage charts above.

The maximum power a tube can transfer is dependent on the difference between cathode and plate voltages. In order to generate the cathode bias, the difference between plate and cathodes is 400 Volts versus 450 Volts in the fixed bias example above.

5 - 5 CLASS A OPERATION:

Often considered the Holy Grail of tube operation, Class A is just as widely misunderstood. While there is no way an Owner’s Manual can successfully convey all of its intricacies, we will try to give you that little bit of knowledge which is not dangerous but may help to de-mystify Class A. In the section above we’ve discussed two separate methods of biasing tubes to draw their correct idle current as determined by the circuit designer. When we speak of classes of tube or transistor operation, we’re considering the effect of applying signal voltages of various magnitudes on top of the steady-state idle conditions.

Remember, the idle current flowing through the tubes under zero signal conditions has been established by biasing via either method so that the grid is charged somewhat negative in relation to the cathode. If it becomes more negative, less current flows. When it is less negative, more current flows. Now, if we apply an audio signal to that grid and look at it instant by instant, the effect is exactly the same as changing the bias voltage. As the audio signal swings negative, it augments the steady-state bias by driving the grid further negative and reducing the amount of current flow through the tube. When the audio signal swings positive, it counteracts the negative bias by adding a positive voltage to a negative voltage such that the sum is not as negative as it first was and thus current flow increases.

What Class A operation means is simply that current will continue to flow AT ALL TIMES through all the tubes during all normal signal voltages. That’s it! The only reason this is important is because it avoids the non-linear region of a tube’s amplifying characteristic which occurs at and near cut-off which is when current ceases to flow. Any single-ended design must, by necessity, operate in Class A, otherwise tremendous distortion would occur as the amplifier literally cuts itself off by having a signal voltage that at times became so negative that all current ceased to flow.

But in a push-pull design, the signal is divided into two halves which are alternately amplified by each side of the circuit. To be more precise, a class AB amplifier would simultaneously use both halves of the amplifier at lower volumes that’s the Class A part, but at some level of signal magnitude, the negative half of the signal would drive one side of the push-pull circuit into cut-off while all the

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Contents Vacuum Tube Audio Page Table of Contents Chapters USE Common Sense and Always Observe These Precautions PrecautionsOverview Operating InstructionsFront View Tigris Unpacking InstallationLocation Speaker Binding PostsHOOK-UP Options Speaker Binding PostsHOOK-UP Options HOOK-UP Options Warm / Operate Switches Detachable Power CordA.C. on / OFF Switch Congratulations Ground SwitchAbout BREAK-IN Advanced FeaturesCongratulations Tandem State ImagingTandem State Imaging Headphone Output Power Tube BlendAuto Bias Headphone OutputClass a Operation Cathode resistorClass a Operation On TRIODES, Pentodes & IrishmenOn TRIODES, Pentodes & Irishmen Triodes Pentodes Tube Maintenance & Tube RollingTube Maintenance Tube Rolling Tube MaintenanceEvolution of the Tigris Evolution of the Tigris Mesa/Boogie Professional Heritage Customer ServiceSpecs Versus Performance Trouble ShootingSpecs Versus Performance Basic Specs14 2 Outside the US Warranty14 1 Within the US Warranty Registration Form From Mesa Boogie Spirit of Art in Technology

Vacuum Tube Audio specifications

Mesa/Boogie is a revered name in the world of vacuum tube audio, renowned for its high-quality amplifiers that have shaped the sound of modern music. Founded in 1969 by Randy Smith in California, Mesa/Boogie began by transforming Fender amplifiers into customized, high-gain models, ultimately gaining a reputation for producing powerful, versatile, and low-noise amplifiers. The signature sound of Mesa/Boogie is characterized by a complex harmonic richness, warmth, and clarity that resonates with guitarists and audiophiles alike.

One of the standout features of Mesa/Boogie amplifiers is their all-tube design. Utilizing vacuum tubes as the primary amplification source, these amps deliver a dynamic range and tonal complexity that solid-state amplifiers struggle to match. The quality of the tubes used, often hand-picked or specifically designed by Mesa, contributes to the unique audio characteristics of each model. The use of EL34, 6L6, and 12AX7 tubes in various configurations allows for a range of tonal options, from lush cleans to searing leads.

Mesa/Boogie amplifiers are also distinguished by their innovative technologies. The brand pioneered the dual rectifier system, which allows players to switch between tube and solid-state rectification. This feature gives musicians the ability to tailor their sound to preference, enhancing the responsiveness and feel of the amplifier. The Contour controls found on many models further exemplify Mesa’s commitment to versatility, allowing for fine-tuning of EQ settings that adapt to different musical styles.

Another hallmark of Mesa/Boogie designs is their attention to build quality. Each amplifier is crafted with robust materials, ensuring durability and reliability even in demanding performance environments. The custom cabinets and speaker selections are optimized to complement the amplified tone, providing a cohesive sound that resonates in live settings.

Mesa/Boogie’s reputation is enhanced by their extensive lineup, including the Mark series, the Rectifier series, and the Lone Star series. Each line caters to different playing preferences and styles, from jazz to metal. The versatility of these amplifiers makes them suitable for diverse genres, allowing musicians to explore their sonic identities.

In conclusion, Mesa/Boogie remains a leading force in vacuum tube audio, combining traditional craftsmanship with cutting-edge technology. Their dedication to quality, innovation, and tonal versatility ensures that they remain a favorite among guitarists seeking the ultimate sound experience. Whether in the studio or on stage, Mesa/Boogie amplifiers continue to inspire musicians to push the boundaries of creativity.