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Sonic qualities of SET output tubes?

Can you readily identify a 300B, 2A3, 805, 211, etc., amp’s sound with your eyes closed most of the time?


If so, I’sure would like to hear from you.


Amplifier design and the technology utilized within its confines decides the ‘voice’ or influence it will yield as much or more so than merely the output tubes the designer has chosen to use.


I get that part emphatically. One must hear the amp regardless the type of output tube technology on hand.


And yes, some Pentodes and Tetrodes are used as Triodes but are not indeed triodes by their specific architecture. That’s OK, just focus on their use as Triodes herein, please.


There are however certain tube types, irrespective of vintage which have basic undeniable sonic colors or characteristics, apart from their electrical aspects which keep attracting people to amps which use this or that tube in its output stage.


Some love 211s. some adore 300Bs. Some love EL34s configured to run as Triodes. I have an affinity for the latter. So far anyway. This topic could change my mind.


Has your own experience informed you what this or that output tube’s natural flavor regularly announces itself to be so you can have a reasonable expectation of its general presentation?


What sonic attribute continually attracts you to a particular SET tube design, 300B or some others?


Or, conversely, what is it about the sound that would bring you to covet a 211 amp over a 2A3, for example.


Why as another example, would you pick a 2A3 amp over one using 805s or 300B, 211, etc. or vice versa?


Removing ‘vintages’ and electronic or electrical qualities from the argument, what sonic attributes for the more popular S.E.T. amp output tubes have you determined seem to persist in their particular DNA?


I’m asking for input from those SET tube devotees to lend their experiences and knowledge on the subject of what tube sounds like what irrespective of the SET application, generally speaking.


My goal is to try getting a better feel for which SET Tube amp design, if any, I’d want to pursue and possibly invest heavily into going forward as the soul of a new system.


Tremendous thanks to all!

blindjim
grannyring's avatar
grannyring
6,441 posts
 
+1 Atmasphere. Great post. I know first hand that distortion always sounds louder and at first can even sound impressive when too few tube watts are trying to drive the wrong speaker too loudly.

Well said and very important learning for us all. Helps us pick the right amp/speaker combo based on one's goals and listening habits with a system.
inna
7,201 posts
 
Ralph, there is usually a lot of distortion in the recording already. How do you try to correct that? Or you simply live with it and do your best not to make it worse?
Artificially lush and shouty sound is something that I realy hate.
grannyring's avatar
grannyring
6,441 posts
 
@wolf_garcia     Please  remind me of the speakers you are now using. Thanks.
atmasphere's avatar
atmasphere
11,640 posts
 
there is usually a lot of distortion in the recording already. How do you try to correct that? Or you simply live with it and do your best not to make it worse?
There may or may not depending entirely on the recording.

You certainly don't want to **add** to it! So yes, you do your best not to make it worse.
inna
7,201 posts
 
So I thought. Those recording engineers from seventies, what did they think they were doing? Best jazzrock albums, starting with Bitches Brew, were very poorly recorded and probably mastered too. Japanese pro records are the best but still so much distortion. Pink Floyd is not particularly good either.
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