Power tubes

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I’m thinking about getting the Fryette power station PS100 to use with my DSL100HR and Helix floor. I’m presently using JHS’s little black box to lower my volume while cranking my amp to my sweet spot.
My question is how much does my amps power amp stage affect the tone I get?? And will using the power station change my tone much??
Thanks for your input on this
 

jeffb

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IME with the DSL40C and attenuation, the power section has a big effect once you get your Master to around 2 o' clock or so. At this point you can actually get a DSL to sound pretty old school by juicing the PI and power tubes, and backing way off on your pre-amp gain. I ran mine this way for alot of years with the Rivera Rockcrusher attenuator.

And yes, attenuators change your tone and some can drastically affect the feel of your amp. Your speakers are not reacting the same way when using an attenuator, even with the best ones you can buy (and the Fryette is a damned good one).

The DSL was designed around preamp distortion and headroom and that's the way 99% of the people out there use them. Gain high, volumes set low to middling. But they are fun to mess around with using an attenuator- you can get some great sounds at reasonable volumes you cannot get otherwise without blasting the amp.
 
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IME with the DSL40C and attenuation, the power section has a big effect once you get your Master to around 2 o' clock or so. At this point you can actually get a DSL to sound pretty old school by juicing the PI and power tubes, and backing way off on your pre-amp gain. I ran mine this way for alot of years with the Rivera Rockcrusher attenuator.

And yes, attenuators change your tone and some can drastically affect the feel of your amp. Your speakers are not reacting the same way when using an attenuator, even with the best ones you can buy (and the Fryette is a damned good one).

The DSL was designed around preamp distortion and headroom and that's the way 99% of the people out there use them. Gain high, volumes set low to middling. But they are fun to mess around with using an attenuator- you can get some great sounds at reasonable volumes you cannot get otherwise without blasting the amp.
Thanks buddy
 

vtrain

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I have a PS2. The amp is the amp, and of course the power tubes affect the tone, how much depends partly on the amp.

The PS2 does affect the amp's tone just like anything else in the signal path does cabs, speakers, etc. In my experience it's the best and most usable way to attenuate a very loud amp. I can crank my JTM45 and bring the volume down while my family sleeps upstairs. Does it sound exactly like cranking the JTM45 and bypassing the PS2? No, but it's damn close and it sounds great, without shaking the foundation.
 
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I have a PS2. The amp is the amp, and of course the power tubes affect the tone, how much depends partly on the amp.

The PS2 does affect the amp's tone just like anything else in the signal path does cabs, speakers, etc. In my experience it's the best and most usable way to attenuate a very loud amp. I can crank my JTM45 and bring the volume down while my family sleeps upstairs. Does it sound exactly like cranking the JTM45 and bypassing the PS2? No, but it's damn close and it sounds great, without shaking the foundation.
Ok cool thanks for your input. I just don’t want to make a hasty decision
 

Kelia

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Does the Power Station have two KT88's inside ? If this is the case , they are on the rare side nowadays.
 

william vogel

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My ps100 has 2 Sovtek 6550’s. I run it as my wet rig through 1 of my 1960 cabs and run the amp into the other 1960 cab. I set the amp to 8 ohms and run 1 cable to the cab and the other cable to the ps100. I put I put reverb, delay, phaser, flanger, etc into the loop of the ps100 and run all my od, distortion, etc into the front end of the amp. I run Trainwreck Express, JMP 50, 18 watt tremolo, whatever, into the combination and it’s like the best thing I’ve ever played. The 50 watt is loud because I balance the wet/dry volumes but it’s definitely a zen moment. The lower power stuff is easier to handle.
 

vtrain

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My ps100 has 2 Sovtek 6550’s. I run it as my wet rig through 1 of my 1960 cabs and run the amp into the other 1960 cab. I set the amp to 8 ohms and run 1 cable to the cab and the other cable to the ps100. I put I put reverb, delay, phaser, flanger, etc into the loop of the ps100 and run all my od, distortion, etc into the front end of the amp. I run Trainwreck Express, JMP 50, 18 watt tremolo, whatever, into the combination and it’s like the best thing I’ve ever played. The 50 watt is loud because I balance the wet/dry volumes but it’s definitely a zen moment. The lower power stuff is easier to handle.
I would like to hear that. I bet it sounds incredible.
 

william vogel

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I would like to hear that. I bet it sounds incredible.
I started by first using the ps100 to be able to add modulation and ambiance effects after the distorted power section of the amp because I don’t really need it to attenuate. I also used to to raise the volume of my low watt amps. One day I realized that I could create wet/dry and it’s really the best sound I’ve ever heard.
 
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My ps100 has 2 Sovtek 6550’s. I run it as my wet rig through 1 of my 1960 cabs and run the amp into the other 1960 cab. I set the amp to 8 ohms and run 1 cable to the cab and the other cable to the ps100. I put I put reverb, delay, phaser, flanger, etc into the loop of the ps100 and run all my od, distortion, etc into the front end of the amp. I run Trainwreck Express, JMP 50, 18 watt tremolo, whatever, into the combination and it’s like the best thing I’ve ever played. The 50 watt is loud because I balance the wet/dry volumes but it’s definitely a zen moment. The lower power stuff is easier to handle.
 

scozz

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The Dsl line, (excluding the Dsl20), mainly get their distortion from the preamp section, they are really not designed as a power tube breakup type of amp.

For some reason the Dsl20 does have power tube overdriven tones. One of the very knowledgeable members here, @Gene Ballzz, was the one I first heard about the Dsl20 from.

He can explain what’s far better than I ever could, maybe he’ll check in here.
 

Kinkless Tetrode

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There is an impact from power tubes being pushed. For example, recently I have been setting up a Les Paul type build. After making adjustment to pickup height and such I plugged in but realized in was like 10:30 at night. But you know how it is, I wanted to see what the adjustments did. So I plugged into the JMD (modeling amp but with a tube power amp) but turned the master way down. It sounded terrible. Thin and Brittle. So I went to bed wondering if the guitar was a turd. Other guitars sounded great through the same patches, and this guitar even had a set of boutique pickups. The next morning I plugged into the same amp and model but turned the master back up. Loud but not stupid loud. All was well. It sounded great.

That said, depending on the amp and what type of music you play you may not want much tube power tube compression. Maybe you will like the sound of the preamp and effects with a big iron power amp just breathing a little, rather than straining. Maybe you want a little power tube compression but not much power stage distortion. Maybe you want the power tubes distorting a lot.
 

Gene Ballzz

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My ps100 has 2 Sovtek 6550’s. I run it as my wet rig through 1 of my 1960 cabs and run the amp into the other 1960 cab. I set the amp to 8 ohms and run 1 cable to the cab and the other cable to the ps100. I put I put reverb, delay, phaser, flanger, etc into the loop of the ps100 and run all my od, distortion, etc into the front end of the amp. I run Trainwreck Express, JMP 50, 18 watt tremolo, whatever, into the combination and it’s like the best thing I’ve ever played. The 50 watt is loud because I balance the wet/dry volumes but it’s definitely a zen moment. The lower power stuff is easier to handle.

I started by first using the ps100 to be able to add modulation and ambiance effects after the distorted power section of the amp because I don’t really need it to attenuate. I also used to to raise the volume of my low watt amps. One day I realized that I could create wet/dry and it’s really the best sound I’ve ever heard.

Yes indeed, a properly laid out and set up wet/dry rig is absolutely the best sounding rig in the universe! This is true, even if "attenuating" the initial "dry" amp being used for your "core" sound. However, it is NOT convenient (by any stretch of the imagination) for hauling, setting up and tearing down, on a daily gigging basis! Sure, we can devise various imaginative methods of "packaging" the rig, to minimize that inconvenience, but even the most inventive solutions are cumbersome and/or clumsy , at best, with multiple, potential points of failure, due to a myriad of connections and or damage!





The Dsl line, (excluding the Dsl20), mainly get their distortion from the preamp section, they are really not designed as a power tube breakup type of amp.

For some reason the Dsl20 does have power tube overdriven tones. One of the very knowledgeable members here, @Gene Ballzz, was the one I first heard about the Dsl20 from.

He can explain what’s far better than I ever could, maybe he’ll check in here.

I've tried/used all models of the two latest DSL iterations and found them all to be generally designed for useable and pleasing preamp overdrive/distortion. Certainly all are capable of driving the power section into overdrive/breakup/distortion, but to my ears, only the DSL20 has sweetest, most pleasing power amp overdrive of the whole bunch. The power amp breakup on the bigger DSL40 and DSL100 can sound kinda OK, but to me, a bit ragged, ratty and harsh, while the littler ones using triode preamp tubes for the power section have no depth or real world dynamics and sound like @$$ to me!

Sonically, I feel that the DSL15 ran a very close second to the DSL20, but it's lack of an effects loop and not even reverb on the head versions made it "no bueno" for me. Still, even the DSL20 requires a bit of attenuation to let it run at it's "sweet spot" without being too loud for many venues! For me, that "sweet spot" is the green CLASSIC GAIN channel, with both GAIN and VOLUME floored to truly give up it's goods! And then dial in the ULTRA GAIN channel to do whatever you want gain wise, to match the volume level of the CLASSIC channel. Unfortunately, even on the latest versions, the shared EQ does not play really well with both channels, without compromising the tone of one or the other of those channels, at least a little bit!

My new "HOLY GRAIL" rig is an SV20H and all my other amps will likely either gather dust or get sold, "EXCEPT" for my 5E3 TWEED DELUXE, which is never going anywhere! Probably will still keep the DSL20CR for guests and as a suitable backup though!

And finally, to answer tht OP @Dominick Pascarella 's question, It is my considered opinion that you are already capable of the best sounds your DSL100HR has to offer and that even though you can certainly achieve some power amp "breakup" with a Fryette Power Station, that power amp overdrive will not necessarily add much if anything that is truly pleasing to your ears. You should be able to get the best you can get from the preamp and simply use the MASTER VOLUMES for controlling your final volume levels! This is the strong point of the 40 and 100 models and while they are formidable "Jacks of all trades" I find them to be "Masters of none" in the overall, old school tone and response department.

Still Crankin'
Gene
 
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Rozman62

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PS100 does much more than just attenuate. It's pricey but you get what you pay for. As others have mentioned the DSL is designed to push the preamp side of the signal equation. I don't correlate the DSL models with using attenuation. One of the big benefits of using a Fryette is using the FX loop. Because you are not using your amps FX loop the sound from your modulation pedals will likely be superior to any tone you've heard in the past. I have vintage Marshall's without loops so it's a big plus. Some FX loops in amps are marginal.
 
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Sounds awesome! I’d love to hear it
The Dsl line, (excluding the Dsl20), mainly get their distortion from the preamp section, they are really not designed as a power tube breakup type of amp.

For some reason the Dsl20 does have power tube overdriven tones. One of the very knowledgeable members here, @Gene Ballzz, was the one I first heard about the Dsl20 from.

He can explain what’s far better than I ever could, maybe he’ll check in here.
cool thanks
 
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There is an impact from power tubes being pushed. For example, recently I have been setting up a Les Paul type build. After making adjustment to pickup height and such I plugged in but realized in was like 10:30 at night. But you know how it is, I wanted to see what the adjustments did. So I plugged into the JMD (modeling amp but with a tube power amp) but turned the master way down. It sounded terrible. Thin and Brittle. So I went to bed wondering if the guitar was a turd. Other guitars sounded great through the same patches, and this guitar even had a set of boutique pickups. The next morning I plugged into the same amp and model but turned the master back up. Loud but not stupid loud. All was well. It sounded great.

That said, depending on the amp and what type of music you play you may not want much tube power tube compression. Maybe you will like the sound of the preamp and effects with a big iron power amp just breathing a little, rather than straining. Maybe you want a little power tube compression but not much power stage distortion. Maybe you want the power tubes distorting a lot.
You maybe don’t understand my question: will I get my amps power tubes sound or the Fryette power station tube sound. ??!
 
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PS100 does much more than just attenuate. It's pricey but you get what you pay for. As others have mentioned the DSL is designed to push the preamp side of the signal equation. I don't correlate the DSL models with using attenuation. One of the big benefits of using a Fryette is using the FX loop. Because you are not using your amps FX loop the sound from your modulation pedals will likely be superior to any tone you've heard in the past. I have vintage Marshall's without loops so it's a big plus. Some FX loops in amps are marginal.
Yes I agree about some fx loops being marginal. I’m using a helix with my DSL100 and 4cable method through fx loop and I am experiencing mad tone suck. Another reason why I’m considering the power station.; the fx loop. Plus my amp does sound better at higher master volume settings on the classic green channel with the volume and gain dimed. I have Mullard EL34’s in it. And ALL 12ax7’s. Sounds great but with the fx loop…….. tone suck
 

Rozman62

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Sounds like the Fryette is for you. No attenuation or FX tone suck there. Pete Thorn put up a YouTube vid on comparing the attenuation using a looper at unity gain. It was pretty forth telling. If there was a difference I couldn't hear it. The simple logic of using a seperate power source to control your FX loop keeping the signal path independent of your amp power tubes is worth the price of admission. Unfortunately that price is $800-900. I'm a 1 channel amp guy so the PS-100 offering that 2nd channel for boosting is killer. The positive reviews on this gear is overwhelming.
 

Kinkless Tetrode

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You maybe don’t understand my question: will I get my amps power tubes sound or the Fryette power station tube sound. ??!
Oh, okay. It will be your amp's power tube sound as long your amp is turned up enough. A re-amper is designed to be mostly transparent. If you need the re-amper to be so loud that it's own power tubes are affecting the tone then you might as well be just using your amp.

Using a tube power amp run clean for hi fidelity applications works great, and for vocals and for bass from my experience. It's more dynamic and has more dimension than Solid State.
 

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