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12AX7 (also known as ECC83 [1]) is a miniature dual-triode vacuum tube with high voltage gain. Developed around 1946 by RCA engineers [ 2 ] in Camden, New Jersey , under developmental number A-4522, it was released for public sale under the 12AX7 identifier on September 15, 1947.
The next version of the Falcon, and the last tube version was released in 1967-1968. This last version was similar in specs to the previous versions but had different cosmetics, with a taller cabinet sporting a larger front mounted control panel with two rows of knobs. This version used 4x 12ax7, and 2x 6bq5 tubes, with a solid state rectifier.
The "Tweed" 5F10 model, [2] launched in 1955, but not in time for the Fender catalog of that year, [3] was a 10-watt amplifier utilising a 6AV6 (from 1956 a 6AT6) preamplifier tube, 12AX7 phase inverter tube, [note 1] a pair of 6V6GT power amplifier tubes, and one 5Y3GT rectifier tube, [4] with a Jensen P10R 10-inch speaker. The amplifier had a ...
A set of three matched Groove Tubes 12AX7 preamp tubes and two matched Groove Tubes EL84 power tubes, graded according to Fender's specifications, are used in all factory Blues Juniors. The Blues Junior uses a nonadjustable power tube bias (no way to vary the bias point), but it is fairly "hot" and can accommodate most matched pairs on the market.
This base type was used by many of the United States and most of the European tubes, e.g., 12AX7-ECC83, EF86 and EL84, produced commercially towards the end of the era before transistors largely displaced their use. The IEC 67-I-12a specification calls for a 36-degree angle between the nine pins of 1.016 mm thickness, in an arc of diameter 11. ...
Fischer's final design, the Songwriter 30, was licensed under Komet Amps. It features four cathode-biased EL84/6BQ5 output tubes and two 12AX7 preamp tubes. The amp's name is derived from its distinct clean sound, which Fischer felt was well-suited for singer-songwriters. Both amplifiers are still in production by their respective manufacturers.
The specifications for these amplifiers, and leadership of the design team, came from Paul Rivera (then marketing director) and are known as Fender Rivera era amplifiers. Some amplifiers in the series used the II moniker; the Champ II, Princeton Reverb II, Deluxe Reverb II and Twin Reverb II, while others such as the Concert and Super Champ did ...
The circuitry of this 30-watt amplifier is typical of its day, with a 5Y3 rectifier tube, one 12AX7 preamp tube, one 12AX7 for phase inversion, a 6SN7 additional gain stage, four 6V6 power tubes, and a 6SJ7 (1954-1958) or a 6AU6 (1958-1960) for the built-in vibrato unit. What makes it unique is the cabinet.
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