If tube microphones are so great, why don't we have tube loudspeakers?
Every studio needs a tube microphone. It is such a popular sound that we simply do not want to work without it. But why don't we apply the same logic at the other end of the signal chain and have tube loudspeakers?
Every studio needs a tube microphone. It is such a popular sound that we simply do not want to work without it. But why don't we apply the same logic at the other end of the signal chain and have tube loudspeakers?
To put it simply, tubes create a subtle 'warmth' that is pleasing to our ears. A microphone with a tube is like a log fire in a cold winter, keeping the cold chill of digital technology at bay.
So why not create warmth in the loudspeaker instead, or perhaps as well?
Clearly, if there is to be a tube, then it will be in the amplifier that drives the loudspeaker. A loudspeaker is a purely passive component. But having a tube amp is certainly possible. There are such things as tube power amplifiers in the hi-fi market.
But I don't know of a single tube power amplifier that is sold into the pro audio or home studio market. Why the omission I wonder?
There are of course pros and cons.
The 'pro' would be a warmer sound. You only have to compare a transistor guitar amplifier with the tube equivalent to realize that.
The 'con' however would be that although the sounds you make in your studio would sound lovely and warm to you, they wouldn't sound warm to anyone else who didn't have tubes in their listening system.
Even so, it's worth considering that if your music sounds good as you make it, then you will enjoy the process more, and more enjoyment equals more creativity. You don't necessarily have to mix through tubes - you could go back to your cold, clinical transistor amp for that.
So come on you manufacturers - let's have some tube power amplifiers for our recording studios.
Next step - active tube monitors. Come one, why not?
Image credit: Tvezymer at English Wikipedia, public domain
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David Mellor
David Mellor is CEO and Course Director of Audio Masterclass. David has designed courses in audio education and training since 1986 and is the publisher and principal writer of Adventures In Audio.
@teashea1: An interesting perspective. You are correct that it would not work well as a studio monitor though.
@paulblack5025: Hey, could you offer some advice. We have new modern Mic with a ECC82 tube. It’s a nice big open sounding mic, but can be harsh from 2.5 right up! Is there any tube old or new that may help to soften it ?
@AudioMasterclass replies to @paulblack5025: You would need an expert tube tinkerer to give you useful advice on that. I would say though from my non-expert perspective that it isn't just a matter of the tube, it's also the bias. But on the tube issue, you might consider buying a few secondhand tubes from eBay and conducting your own experiments. If you do, it would be interesting to know how you get on. DM
@paulblack5025 replies to @paulblack5025: @Audio Masterclass thank you I must try that. My Mic has a ECC82 tube . I’m I married to ECC82 or would others fit ? Kind Regards
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@AudioMasterclass replies to @paulblack5025: This is where you need an expert tube tinkerer. Transistors yes - any transistor with broadly similar specifications can replace any other as long as the NPN or PNP characteristic is correct. You may not get optimum results but it should work. But tubes, well the configuration of the pins will likely be different in different models. I'd guess though that different examples of the same ECC82 type will sound different. My guess is based on hearing different examples of the same tube mics that definitely did sound different. Good luck in your search. DM
@paulblack5025 replies to @paulblack5025: @Audio Masterclass any idea of a Tube tinkerner I could contact ?? I was searching and can’t find anything with that term 😅 Back in the Audio rabbit holes, love it 😊
@BogdanWeiss: The simplest answer is cost, there are also solid state amplifiers that a "tube lover" will be happy with & here are "tube loudspeakers" http://lenardaudio.com/opal-systems.html#valve_amplifier
@TiqueO6: Definitely into the idea of monitoring with tube driven gear! Especially headphone monitoring because that definitely influences the performance of musicians. For example when you have a relatively more true to life sounding microphone like a very good ribbon mic, especially passive, the performer does not rely on the truly “hyped“ high-end frequencies of condenser microphones and the subsequent amplifications.
Without the “crutch“ of what I call “ear candy” and the especially “wet“ and glassy sounding nature of sounds captured via condenser microphones, Musicians will tend to search for tones and even emote more rather than having for example the voice sound like it’s thoroughly warmed up and we'd just had a glass of water or the exaggerated pick-sounds on Ac.Guit. do all the work for them.
This would apply in the studio or live, wow in the studio only just listening to monitor play backs on more pleasant and true sounding equipment a musician definitely should have an accurate representation of what happens “in the air” with natural harmonic resonances and such without digital distortion whenever possible so as to not have the ear distracted (even to the point of reacting by restricting the sensitivity to especially high frequencies - case in point, after a blast of feedback notice how your ears react by shutting down where one feels like they’re somewhat “underwater“ for a minute or even more. The same exact thing happens on a much more subtle basis when having to hear sound sources that are unusually a naturally hyped in the high end. The ear will start to protect itself by shutting down sensitivity in those frequency ranges that are insulting it. Obviously that is not an ideal way to make, record or mix music.)
@AudioMasterclass replies to @TiqueO6: Thank you for your detailed and insightful comment.
@TiqueO6 replies to @TiqueO6: Audio Masterclass thank you!
And, I would be very interested in seeing/hearing an analysis of the real-time influences from sound reproduction on the performer.
Including A/B type analysis would be really very informative, for example someone hearing them selves sing (and/or play) on headphones using very bright condenser microphone versus a natural sounding ribbon (preferably passive) microphone.
(Of course some time will have to be taken to have the ears of the person recover from being “insulted” by the extremely bright condenser microphone so it might be best to start with the ribbon microphone.)
@derholtpunk2531: 😂👍🏻