and which do you prefer?...I only have experience with EL34's until recently when I got a Laney GH100L and the Laney takes both (with a switch for auto-biasing)-
I the 6L6's sound like they have more umph (low end) while the EL34's like to scream more to my ears...
what's the difference? which do you prefer and why?[/size]
Well, you kind of described the difference as oomph vs scream. Which fits your music genre the best? MOST of the guitar players I know all say 6L6 but that may just be a "because I have always used them because everybody says so" kind of thing. I preferred solid state because I didn't want to have to deal with heat and ventilation concerns, but it's been a long time since I was a guitar player too.
I've personally found that 6L6 vs EL34 made fairly little difference. Toss 6L6's into a Marshall and it'll still sound like a Marshall - heck, many of their amps came with 6L6's from the factory!
That's not to say there are no differences, just that the differences are subtle and overshadowed by everything else in the amp. Typically 6L6 has a more solid bottom end and EL34 has more midrange harmonics, but again the amp has more to do with that. My most prized amplifier in my collection is an original Rivera Knucklehead 55. Stock it came with EL34's, but it has fat bass and the most beautiful clean Fender chime I've ever heard, even compared to actual Fenders (no doubt because Paul Rivera worked at Fender for years).
One big upshot with 6L6's is they use less heater current, so your transformers might run a little cooler. Might not be noticeable on your amp, but on an old Carvin amp I have it's much cooler.
You might get more of a tonal shift by changing preamp tubes. Long plate vs short plate, JJ vs Sovtek, 12AX7 vs 12AT7 vs 12AU7 vs 5751. Generally you can toss them in without having to change anything else.
ANYTHING you get from that amp with whatever configuration, so long as you're not in High gain mode, will sound 100% better than the "rock" clips in BIAB. Just stay away from sizzle and fizz and effects. Ue the amp for it's excellent tonal options.
Last edited by rayc; 09/30/2011:23 PM.
Cheers rayc "What's so funny about peace, love & understanding?" - N.Lowe
All the years I played and used tube amps, I have really never noticed much of a difference. I did the whole thing about buying matched pairs and changing the pre's out to Soviet, or whatever the fad seemed to be at the time. Never really could tell much of a difference between them.
I think it's kind of like the feeling you get that your car is running better because you just washed and polished it. It's not really, but it just seems that way.
That's not to say that tubes don't wear out and that replacing worn out tubes with new ones won't make any difference.... because it will. But if you have good tubes to start with, you really have to have keen ears to hear a difference and I can guarantee you that the crowd from Friday night that comes back Saturday night isn't going to be setting there sipping their drinks saying.... you know, I swear his guitar amp sounds a bit more boomy in the low end than it did last night, I'll bet he swapped his preamp tubes to those new Sovtecs.
Unless you mention it to the band... I doubt that they would realize it either.
You can find my music at: www.herbhartley.com Add nothing that adds nothing to the music. You can make excuses or you can make progress but not both.
The magic you are looking for is in the work you are avoiding.
This is a schematic to your amp. It looks to me the bias should work well enough, but to get max performance would require a electronics guy to bias the amp. Every 6L6 or EL34 is slightly different and the bias on your amp is only adjustable by changing out resistors. Flipping the switch puts fixed bias resisters in the circuit.
The actual technical answer to your question is very complex, and very difficult to understand foe anyone. Go look at the data sheets on 6L6 tubes. Google EL34 data sheets and 6L6 data sheets. JJ Electronics has pretty good data sheets.
Adding to what Planobilly said about biasing the amp - most of these more modern fixed-bias type amps tend to keep the bias on the colder side. That's generally good from a tube longevity standpoint, but many people think biasing the tubes hotter sounds better. I personally prefer colder bias on my amps, as I feel the bottom end is a bit more solid and pronounced, but ymmv.
and which do you prefer?...I only have experience with EL34's until recently when I got a Laney GH100L and the Laney takes both (with a switch for auto-biasing)-
I the 6L6's sound like they have more umph (low end) while the EL34's like to scream more to my ears...
what's the difference? which do you prefer and why?[/size]
One post only…
Who cares?
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For my style of playing tubes of any kind no longer matter. Amp modelling is so good today that the difference is wasted on me and most everyone I play for.
If I'm playing a telecaster, the new Fender Tone master amps sound excellent. Real nice clean sound. Reverb is good I find my pickup selection (Joe Barden's for me) much more important than the amp. The Barden's crackle the way I like and the breakup is there at volume The tonemaster weighs half what a tube based deluxe reverb does. That matters to my 62 year old back.
For a humbucker based guitar (for me a prs cs24) i normally play the tonemaster or a Quilter. I like the breakup on the Fender but the Quilter has a good sound also.
I've been waiting for decades for solid state modelling amps to do a good enough job to replace my tube amp. That time has arrived I sold my last Vibrolux 6 months ago. Don't miss it. Happy to get a grand for an amp I paid $300 for.
Tube amps are dead..... Long Live Tube Amps !!!!
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For my style of playing tubes of any kind no longer matter. Amp modelling is so good today that the difference is wasted on me and most everyone I play for.
If I'm playing a telecaster, the new Fender Tone master amps sound excellent. Real nice clean sound. Reverb is good I find my pickup selection (Joe Barden's for me) much more important than the amp. The Barden's crackle the way I like and the breakup is there at volume The tonemaster weighs half what a tube based deluxe reverb does. That matters to my 62 year old back.
For a humbucker based guitar (for me a prs cs24) i normally play the tonemaster or a Quilter. I like the breakup on the Fender but the Quilter has a good sound also.
I've been waiting for decades for solid state modelling amps to do a good enough job to replace my tube amp. That time has arrived I sold my last Vibrolux 6 months ago. Don't miss it. Happy to get a grand for an amp I paid $300 for.
Tube amps are dead..... Long Live Tube Amps !!!!
I quite like the Boss Katana amps. Lightweight, loud, and sound fantastic! I'd personally get the 100 watt version as a minimum for gigging.
That said, you'll never get me to give up my Rivera or my Carvins.
I have been using solid state amps for years starting with a Carvin FR1200 amp. I like the clean sound you get with them and in the wedding band business that was important. The Carvin had a distortion option on it for those rock sounds.
Too bad that Carvin amps/sound equipment went out of business. Toured the world with their gear. Everything I ever bought from them still works as new even if it no longer looks it.
Well… except for this guy (bass works great, though)
Carvin LB85 with split flame koa top.
BIAB 2026 Audiophile Mac 24Core/60CoreGPU M2 MacStudioUltra/8TB/192GB Sequoia/Tahoe, M1 & M5 MBAir, 2012 MBP Digital Performer11, Logic, Finale27/Dorico/Encore/SmartScore/Notion/Overture
Too bad that Carvin amps/sound equipment went out of business. ....................
Yes, it is too bad they went out of business as they made some great equipment. Here is a picture from the past with me and my Carvin guitar and amp:
It's such a shame. I have a 1990-ish Carvin X100B head (the carpet-covered version), and it's probably my second most used amp. Also have a mid 90's MTS3212, which was the first tube amp I ever rebuilt - it had some PCB damage at the phase inverter, which caused squealing. Sounds great, even with diode clipping on the drive channel, and has an excellent reverb!
Conversations about the various types of amps can and do go on forever. My recommendation is to play what sounds good to you.
Solid state amps have come light years from the first transistor amps.
In a conversation with Bruce Zinky once, I ask him if a solid state amp could be made to sound like a tube amp. His answer was yes, if you wanted to spend enough money.
One thing I like about tube amps is their repairability. Solid state amps in general, are designed to be less expensive and disposable. Some repair parts for solid state amps are no longer manufactured and symply don't exist.
Someone can bring a tube amp to me and I can change the way it sounds without much difficulty. Doing the same thing with a solid state amp is much more difficult. Most if not all the "boutique" amps I have ever seen were tube.
There has always been an unending search for "tone". I don't see tube amps going away anytime soon.
Mario, cool photo. Still have the double neck? Did your right sleeve ever catch any of the hardware mounted on the switch plate between the necks?
No I do not have that guitar. And no my sleeve never caught switch. What I liked about that guitar is that I could have both necks active at the same time. I use to play Dueling Banjos go back and forth between the necks. But the guitar was very heavy and almost impossible to play sitting down do to the shape of the body. I traded it in on my guitar MIDI controller.
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202 New RealTracks Released with Band-in-a-Box 2026!
With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
Jazz, Funk & World (Sets 468-475):
Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483–488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture today’s radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
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