The Fender Champ was a guitar amplifier made by Fender . It was introduced in 1948 and discontinued in 1982. An updated version was introduced in 2006 as part of the "Vintage Modified" line.
49-448: The Champ had the lowest power output and the simplest circuit of all Fender tube amps . The Champ had only one power tube, and the power stage circuit is, typically, single-ended and class A . Five watts and the simple toneful circuit allowed the Champ to be used easily and often in recording studios. First introduced in 1948, it sported the name "Champion 800" (with 8" speaker), changing
98-408: A 'lead' effect, and a mid-boost switch. The Super Champ utilized 1× 12AX7 for the first and second stage preamp, a 1× 12AT7 for spring reverb driver tube, whilst the three sections of the triple-triode 6C10 compactron serve as a recovery for the spring reverb, as a driver for the phase inverter, and as a split-load phase inverter. When the volume knob is pulled, some signal from the 12AT7 reverb driver
147-530: A Champ with tremolo was also introduced. It was called the Vibro Champ . The Champ switched from Blackface to Silverface four years later. Fender brought back the blackface cosmetics for a short time in 1981 before discontinuing the Champ the following year. In 2006, Fender "reissued" the Champion 600. Cosmetically similar to the original Champion 600, internally it features a modified blackface Champ circuit (with
196-676: A basis for the Bronco student amplifier of 1967. In 2007, Fender reintroduced the Vibro Champ as the Vibro Champ XD , part of their "Vintage Modified" series. Aesthetically, the XD is based on the Champ from the blackface era. Unlike the Champion 600, which has a strictly all-tube audio signal path, the Vibro Champ XD's tube circuitry is complemented by a digital signal processor (DSP) that functions as
245-489: A differential input stage and a totem pole output, the circuit usually having a minimum of five active devices. A number of "packages" were produced that integrated such circuits (typically using two or more glass envelopes) into a single module that could be plugged into a larger circuit (such as an analog computer). Such valve op-amps were very far from ideal and quickly became obsolete, being replaced with solid-state types. Historically, pre-WWII "transmitting tubes" were among
294-454: A pre-amp by modelling 16 different amplifiers. The effect of the volume, gain and tone control knobs varies according to the selected amp model. The digitally modelled signal is fed into a class-A single-ended tube circuit, with a 12AX7 output tube driver, and a 6V6 output tube. The amp also comes equipped with DSP effects, including reverb, delay, chorus, tremolo, and Vibratone (there is no spring reverb tank). In January 2021 Fender introduced
343-532: A small current and thus loads the circuit to which it is attached. This can significantly alter the operating conditions in the circuit being measured. The vacuum tube voltmeter (VTVM) uses the high input impedance of a valve to buffer the circuit being measured from the load of the ammeter. Valve oscilloscopes share this very high input impedance and thus can be used to measure voltages even in very high impedance circuits. There may typically be 3 or 4 stages of amplification per display channel. In later oscilloscopes,
392-641: A special grille cloth were offered as part of the Super Pro Series. The Super Champ was sold until 1986. Along with the Concert amp, it was the last tube amp to be made by Fender under CBS ownership, and the last to be made at Fullerton. Introduced along with the Super Champ described above, the Champ II was the most basic of the tube amps in the "Rivera-era" range of Fenders, having no reverb or extra gain switching. It
441-621: A tube amplifier, the transition from linear amplification to limiting is less abrupt than in a solid state unit, resulting in a less grating form of distortion at the onset of clipping. For this reason, some guitarists prefer the sound of an all-tube amplifier; the aesthetic properties of tube versus solid state amps, though, are a topic of debate in the guitarist community. Power valves typically operate at higher voltages and lower currents than transistors - although solid state operating voltages have steadily increased with modern device technologies. High power radio transmitters in use today operate in
490-453: A type of amplifier using a series of tubes connected at equal distances along transmission lines , known as a distributed amplifier was employed to amplify very high frequency vertical signals before application to the display tube. Valve oscilloscopes are now obsolete. In the closing years of the valve era, valves were even used to make " operational amplifiers " – the building blocks of much modern linear electronics. An op-amp typically has
539-419: A whole new range of amplifiers to meet the contemporary requirements of musicians. Even though he did not personally create the new designs, his direction of the engineering team, headed by Ed Jahns and Bill Hughes, resulted in some legendary amps, including the Super Champ. Featuring a push-pull output, 10" speaker, and spring reverb, as well as some new circuitry; master volume, a switchable extra gain stage for
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#1732873172766588-404: A year later to "Champion 600" (6" speaker) with circuit designation 5B1. It was rated at about 3 watts, featuring a "T.V. Front" style cabinet; the 800 was covered in greenish fabric while the 600 featured two-tone blonde and brown vinyl covering. This style lasted until 1953, when Fender's cabinet style changed to the "Wide Panel" design with a tweed cloth covering . Fender also renamed the circuit
637-450: Is also available in both combo and discrete head/speaker cabinet units. Fender reissued the 1957 narrow panel tweed Champ in 2009. Vacuum tube amplifier A valve amplifier or tube amplifier is a type of electronic amplifier that uses vacuum tubes to increase the amplitude or power of a signal . Low to medium power valve amplifiers for frequencies below the microwaves were largely replaced by solid state amplifiers in
686-454: Is done by solid-state op amps and the DSP, which also provide the desired voicing of the amps. It is then fed into the first triode of the 12AX7, which acts as a second stage preamp, provides the additional tube gain for both channels and acts as an interface between the solid-state circuitry and the tube circuitry. The second triode is a phase inverter, which creates mirror images of the signal to drive
735-569: Is no longer available new and Fender has completed the amps' production run so no more will be produced or available from Fender. Unlike the Champion 600 (all tube circuitry), the Super Champ XD (like the Vibro Champ XD) is a hybrid (tube circuitry complemented with digital modeling and effects). Aside from one dual-triode 12AX7 and two 6V6 output tubes, it also has a digital signal processor (DSP) which models 16 different amplifiers and programs
784-407: Is not well matched to low-impedance loads such as loudspeakers or antennas. A matching network is required for efficient power transfer; this may be a transformer at audio frequencies, or various tuned networks at radio frequencies. In a cathode follower or common-plate configuration, the output is taken from the cathode resistance. Because of negative feedback (the cathode-ground voltage cancels
833-563: Is often represented as a series of "characteristic curves" on a diagram. Depending on the other components in the circuit this modulated current flow can be used to provide current or voltage gain . The first application of valve amplification was in the regeneration of long distance telephony signals. Later, valve amplification was applied to the ' wireless ' market that began in the early thirties. In due course amplifiers for music and later television were also built using valves. The overwhelmingly dominant circuit topology during this period
882-507: Is re-routed, resulting in higher gain. An optional two-button foot-switch allowed for gain switching and reverb on/off. Two 6V6GT power tubes provide it with 18 RMS watts. The cabinet was finished in black Tolex, with a black faceplate and silver grille cloth. The speaker was offered either with the standard Fender Blue Label, or optionally with a Fender-branded Electro-Voice EVI-10. Additionally, 100 Super Champ cabinets made of oak, fitted with EVI-10, having brown/champagne faceplate and knobs, and
931-448: The "5C1", "5" standing for the decade (1950s), "C" for the third circuit revision, and "1" was the Champ's circuit designation. The 5C1 circuit was extraordinarily simple, using one 6SJ7 pentode in the preamplifier section to provide a single stage of voltage amplification, one 6V6 beam power tetrode in the power amplifier section, a 5Y3 rectifier tube and a single volume knob with no tone controls. By 1955 Fender started putting its amps in
980-456: The "Narrow Panel" tweed cabinet with a plastic oxblood color grill cloth, and by this time the Champ was officially named the Champ (model 5E1). Through 1957, Champs only had a six-inch speaker, but the 1958 model 5F1 featured an 8". The 5E1 and 5F1 circuits used a 12AX7 dual triode in the preamplifier to provide two stages of voltage amplification, and a single 6V6GT power tube to produce about 5 watts. A Champ from this era can easily be dated by
1029-480: The '68 Custom Vibro Champ Reverb as a part of their Vintage Modified series. This 5-watt silverface combo amplifier is identical to the original late-1960s Vibro Champ except for the inclusion of hall reverb, modified circuitry and a larger 10" Celestion® Ten 30 speaker. In 1982, in order to combat its decreasing amp sales, which at that time was around 10,000 units per year, Fender hired Paul Rivera (of Rivera Amplifiers ) as Marketing Director to specify and help design
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#17328731727661078-406: The 'even harmonic distortion' produced by valve tubes sounds more pleasing to the ear than transistors, regardless of style. It is the tonal characteristics of valve tubes that have sustained them as the industry standard for guitars and studio microphone pre-amplification. Tube amplifiers respond differently from transistor amplifiers when signal levels approach and reach the point of clipping . In
1127-498: The 1960s and 1970s. Valve amplifiers can be used for applications such as guitar amplifiers , satellite transponders such as DirecTV and GPS , high quality stereo amplifiers, military applications (such as radar ) and very high power radio and UHF television transmitters . Until the invention of the transistor in 1947, most practical high-frequency electronic amplifiers were made using thermionic valves . The simplest valve (named diode because it had two electrodes )
1176-521: The 1970s the silicon transistor became increasingly pervasive. Valve production was sharply decreased, with the notable exception of cathode-ray tubes (CRTs), and a reduced range of valves for amplifier applications. Popular low power tubes were dual triodes (ECCnn, 12Ax7 series) plus the EF86 pentode, and power valves were mostly being beam tetrode and pentodes (EL84, EL34, KT88 / 6550, 6L6), in both cases with indirect heating. This reduced set of types remains
1225-442: The 1970s. Valves remained in certain applications such as high power RF transmitters and the microwave oven , and audio amplification equipment, particularly for the electric guitar, recording studios, and high-end home stereos. In audio applications, valves continue to be highly desired by most professional users, particularly in recording studios' equipment and guitar amplifiers. There is a subgroup of audio enthusiasts who advocate
1274-475: The Super Champ name with the Super Champ XD , part of their "Vintage Modified" series. The look is based on the blackface model. Although for a limited period of time a special edition Blonde version was produced, Fender’s Consumer Relations Department states that the blonde special edition Super Champ XD with oxblood grill was a FSR (factory special run) that was limited to only 1,000 produced. The blonde version
1323-407: The code stamped on the tube chart, by the code stamped on the speaker or by its serial number. The 5F1 lasted until 1964, when the Champ finally made the transition to the "Blackface" style of circuit and cabinet. A small number of the last 5F1 style cabinets were covered with the "Blackface" amp cosmetics around this transition, as the factory most likely ran out of the tweed cloth covering. In 1964,
1372-653: The core of valve production today. The Soviets retained valves to a much greater extent than the West during the Cold War , for the majority of their communications and military amplification requirements, in part due to valves' ability to withstand instantaneous overloads (notably due to a nuclear detonation ) that would destroy a transistor. The dramatic reduction in size, power consumption, reduced distortion levels and above all cost of electronics products based on transistors has made valves obsolete for mainstream products since
1421-480: The development of the design of valve amplifier circuits. A range of topologies with only minor variations (notably different phase splitter arrangements and the " Ultra-Linear " transformer connection for tetrodes) rapidly became widespread. This family of designs remains the dominant high power amplifier topology to this day for music application. This period also saw continued growth in civilian radio, with valves being used for both transmitters and receivers. From
1470-558: The grid-ground voltage) the voltage gain is close to unity and the output voltage follows the grid voltage. Although the cathode resistor can be many kilohms (depending on biasing requirements), the small-signal output impedance is very low (see operational amplifier ). Valves remain in widespread use in guitar and high-end audio amplifiers due to the perceived sound quality they produce. They are largely obsolete elsewhere because of higher power consumption, distortion, costs, reliability, and weight in comparison to transistors. Telephony
1519-489: The kilovolt range, where there is still no other comparable technology available. ([power = voltage × current], so high power requires high voltage, high current, or both) Many power valves have good linearity but modest gain or transconductance . Signal amplifiers using tubes are capable of very high frequency response ranges – up to radio frequency and many of the directly heated single-ended triode (DH-SET) audio amplifiers use radio transmitting tubes designed to operate in
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1568-473: The megahertz range. In practice, however, tube amplifier designs typically "couple" stages either capacitively, limiting bandwidth at the low end, or inductively with transformers, limiting the bandwidth at both ends. All amplifier circuits are classified by "class of operation" as A, B, AB and C etc. See power amplifier classes . Some significantly different circuit topologies exist compared to transistor designs. The high output impedance of tube plate circuits
1617-732: The most powerful tubes available. These usually had directly heated thoriated filament cathodes that glowed like light bulbs. Some tubes were capable of being driven so hard that the anode itself would glow cherry red; the anodes were machined from solid material (rather than fabricated from thin sheet) to withstand heat without distorting. Notable tubes of this type are the 845 and 211. Later tetrodes and pentodes such as 817 and (direct heated) 813 were also used in large numbers in (especially military) radio transmitters RF circuits are significantly different from broadband amplifier circuits. The antenna or following circuit stage typically contains one or more adjustable capacitive or inductive component allowing
1666-447: The multiplexed channels. This stimulated development emphasis towards low distortion far beyond the nominal needs of a single voice channel. Today, the main application for valves is audio amplifiers for high-end hi-fi and musical performance use with electric guitars , electric basses , and Hammond organs , although these applications have different requirements regarding distortion which result in different design compromises, although
1715-587: The output tubes. This arrangement provides the same feel of a complete tube amp while allowing multiple voicing. The DSP chip also provides effects, including reverb, delay, chorus, and tremolo. There is no spring reverb tank. In 2012, Fender released the Super Champ X2 , a redesign of the XD. The X2 is designed to interface with the FUSE software used by the Fender Mustang series of modeling solid-state amplifiers, and
1764-791: The range 144 to 146 MHz (just 1.4%) Today, radio transmitters are overwhelmingly silicon based, even at microwave frequencies. However, an ever-decreasing minority of high power radio frequency amplifiers continue to have valve construction. Rivera Amplifiers Rivera Amplifiers is an American manufacturer of guitar amplifiers . It was founded by Paul Rivera as a research and development firm in August 1976 in Southern California . Before moving into manufacturing amplifiers under his own name, Paul Rivera ran his own amplifier repair and modification shop, and then worked for Fender Amplifiers . There he acted as Marketing Director, specifying
1813-430: The resonance of the stage to be accurately matched with carrier frequency in use, to optimize power transfer from and loading on the valve, a so-called "tuned circuit". Broadband circuits require flat response over a wide range of frequencies. RF circuits by contrast are typically required to operate at high frequencies but often over a very narrow frequency range. For example, an RF device might be required to operate over
1862-408: The result that the 1960s saw the increasing spread of electronic gramophone players, and ultimately the beginnings of high fidelity . Hifi was able to drive full frequency range loudspeakers (for the first time, often with multiple drivers for different frequency bands) to significant volume levels. This, combined with the spread of TV, produced a 'golden age' in valve (tube) development and also in
1911-553: The same basic design techniques are generic and widely applicable to all broadband amplification applications, not only audio. Post World War II, the majority of valve power amplifiers are of the Class AB-1 "push pull" ultralinear topology, or lower cost single ended i.e. 6BQ5/EL84 power tubes, but niche products using the DH-SET and even OTL topologies still exist in small numbers. The basic moving coil voltmeter and ammeter itself takes
1960-627: The same electronics were available with a different look and feel – based on "tweed" Fender amps, despite the branding – as the Gretsch G5222 Electromatic. Production of the Champion 600 reissue ceased in 2010 and was reintroduced by Fender in late 2014. As of 2016, the Champion 600 was once again discontinued. The Fender Vibro Champ was a guitar amplifier made by Fender . It was first introduced in 1964 and discontinued in 1982. The Vibro Champ featured built-in tremolo with controls for speed and intensity. The silverface version served as
2009-460: The settings of the tone stack being hard-wired rather than adjustable via Treble and Bass controls, and a couple of additional resistors reducing input-stage gain) and a switch to solid-state rectification from the original 5Y3 tube. The current look is the TV-front with two-tone tolex and speaker grille cloth of imitation suede. After Fender took on marketing, production and distribution for Gretsch ,
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2058-514: The use of tube amplifiers for home listening. They argue that tube amplifiers produce a "warmer" or more "natural" valve sound . Companies in Asia and Eastern Europe continue to produce valves to cater to this market. Many professional guitar players use 'tube amps' because of their renowned 'tone'. 'Tone' in this usage is referring to timbre, or pitch color, and can be a very subjective quality to quantify. Most audio technicians and scientists theorize that
2107-456: The valve itself, typically 5% distortion at full power. Negative feedback (NFB) was invented by Harold Stephen Black in 1927, but initially little used since at that time gain was at a premium. This technique allows amplifiers to trade gain for reduced distortion levels (and also gave other benefits such as reduced output impedance). The introduction of the Williamson amplifier in 1947, which
2156-456: The volume, gain, and tone controls accordingly. It has two channels, channel 1 being a clean channel, and channel 2 having both clean and distortion voices, using modeling technology to provide 15 additional voices. Both the Bass/Treble EQ and Effects (FX) are global settings meaning they affect the sound of both channel 1 and channel 2. There are two stages of amplification: the first stage
2205-456: Was discontinued in 1983, along with the Bassman 20 (with which it shared the same metal chassis design), three years before the rest of the range, perhaps because its dearth of features was unfashionable at the time. It had the same colour scheme, power supply, output stage and stock speaker as the Super Champ but the preamp and phase inverter consisted of two 12AX7 tubes. In 2007, Fender resurrected
2254-541: Was extremely advanced in many respects including very successful use of NFB, was a turning point in audio power amplifier design, operating a push-pull output circuit in class AB1 to give performance surpassing its contemporaries. World War II stimulated dramatic technical progress and industrial scale production economies. Increasing affluence after the war led to a substantial and expanding consumer market. This enabled electronics manufacturers to build and market more advanced valve (tube) designs at affordable prices, with
2303-666: Was invented by John Ambrose Fleming while working for the Marconi Company in London in 1904. The diode conducted electricity in one direction only and was used as a radio detector and a rectifier . In 1906 Lee De Forest added a third electrode and invented the first electronic amplifying device, the triode , which he named the Audion . This additional control grid modulates the current that flows between cathode and anode . The relationship between current flow and plate and grid voltage
2352-412: Was the single-ended triode gain stage, operating in class A, which gave very good sound (and reasonable measured distortion performance) despite extremely simple circuitry with very few components: important at a time when components were handmade and extremely expensive. Before World War II , almost all valve amplifiers were of low gain and with linearity dependent entirely on the inherent linearity of
2401-520: Was the original application for audio amplification, and remained as the main usage for many years. A specific issue for the telecommunication industry was the technique of multiplexing many (up to a thousand) voice lines onto a single cable, at different frequencies. A single valve "repeater" amplifier can amplify many calls at once, and was thus very cost effective. The problem is that the amplifiers need to be extremely linear, otherwise " intermodulation distortion" (IMD) will result in "crosstalk" between
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