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    Chapter 1: The Common Cathode, Triode Gain Stage

    Fundamentals of amplification. The load line. Biasing and distortion. Limitations on


    bias. Applying bias. Designing a simple, triode gain stage. The valve constants.
    Mathematical treatment of a gain stage. Summary of formulae.

    In order to understand an amplifier as a whole, we must first understand its


    basic principles. Most amplifiers follow the same basic arrangement or 'topology',
    so we can begin by examining how a simple triode valve can be used to amplify a
    signal voltage, and how it is used to generate distortion. Almost all guitar amplifiers
    have a preamp consisting of a number of ECC83 / 12AX7 triodes, while the ECC81 /
    12AT7, ECC82 / 12AU7 and 12AY7 occasionally appear in some designs. The
    consistent use of the same type of valves is partly historical, since so many latter-day
    amplifiers are derivations (or merely copies!) of a few classic Fender amps.
    However, the ECC83 does have some properties which make it ideal for use in
    overdriven designs, which will become apparent. Although there are hundreds of
    valves which are worth experimenting with, commercial designs are bound to use the
    same, readily available valve types, if only to satisfy consumer expectations.
    Consequently the ECC83 is likely to remain the 'triode of choice' for guitar amps,
    indefinitely, so much of this book will focus on its use.
    For readers who are not familiar with the many designation numbers it is worth
    mentioning that the ECC83, ECC803, CV4004, M8137, 12AX7, 7025 and 6681 are
    all the same valve. The different numbers indicate either different manufacturers or
    special quality versions, but they all have the same electrical characteristics as far as
    guitar amps are concerned, and all can be used in the same circuit. Additional letters
    (such as 12AX7A) need not concern us; they were once used to indicate a controlled
    heater warm-up time or some other feature particular to that iteration of the valve,
    but with most current-production versions any extra letters may be assumed to be a
    gimmick.
    Some versions are reputed to have a particular tonal character, and much has been
    fc
    written about the apparent superiority of. say, the Mullard long plate' ECC83, or the
    RCA 'black plate' 12AX7. These subjective differences are not a consideration for
    the circuit designer and will not be mentioned here again. So-called 'tube rolling'
    and 'cork sniffing' is left to the discretion of the reader. Real tonal control comes
    from the choice of topology, frequency shaping
    +HT
    and manipulation of overdrive characteristics, and
    from a complete understanding of the circuit's
    functionality, not from the particular manufacturer
    or vintage of the actual components used.

    Fundamentals of amplification:
    Fig. 1.1 shows a simplified circuit using a
    triode. It has two input terminals and two output
    terminals, and is sometimes known as quadripole.
    One input pole and one output pole are connected
    together at the cathode, so they are 'common' to
    one another, and are usually connected to ground. Fig 1.1: Simplified common-
    This is the common-cathode or grounded- cathode, triode gain stage.
    cathode gain stage, and it is the fundamental
    1

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