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Fender 5E3 Deluxe Amplifier Modifications

By Rob Robinette

I don't expect anyone to mod their original 5E3 Deluxe but if you have a Deluxe clone like me then adding some switchab
can be beneficial. I'm not trying to improve the 5E3 so much as I'm trying to make the amp more versatile. Some o
mods work well together too. When I need more headroom I'll flip the feedback switch on but this pairs well with the Lead
and High Gain mods. My three favorite mods are: 1. Switched Negative Feedback 2. Lead Channel 3. Master Volume. M
mods below are on a switch so you can deactivate the mod. A slightly modified 5E3 can be a very versatile gig amp and
encourage everyone to build or buy one.

Take a look at the RobRob Deluxe which is a 5E3 Deluxe with many of my favorite mods incorporated.

For more 5E3 info see How the 5E3 Deluxe Works and My 5E3 Deluxe Build. If you are interested in how the Deluxe am
evolved from the 1940's to 2015 see Deluxe Models.

If you are new to the 5E3 then take a listen to this very well recorded demo of a BootHillAmps.com 5E3 kit. Here's ano
excellent demo of a home-built, (in a cake pan no less) unmodified 5E3 Deluxe: kdj 5E3 Deluxe YouTube Demo. These
best 5E3 demos I've ever heard.

WARNING
Amplifiers have large capacitors that store enough electricity to kill even when the amplifier is unplugged. If you op
amplifier you MUST verify no voltage remains in the capacitors before working inside it. See more amp safety info

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Table of Contents
3-way Switched Feedback: My favorite mod: Normal / No Cathode Bypass Cap / Negative Feedback - Adding NFB
increases clean headroom and civilizes the 5E3.

Add a Master Volume to make the 5E3 more pedal friendly and for low volume practice. This is a great mod.

How about a simple Master Volume + Vox Cut Control? I love this thing

Phase Inverter Grid Stopper Resistor Keep the phase inverter from freaking out during heavy overdrive.

6L6 & EL34 Power Tube Upgrade

Switched Bias: Fixed Bias / Cathode Bias so you can choose 'High and Tight' or 'Loose and Tubey'

High Voltage Tap Adjustable Fixed Bias: Get your fixed bias voltage from the power transformer high voltage secondary.

Cathode Bias Switch: Select three levels of cathode bias.

Voice a "Lead" channel: My second favorite mod, create some real difference between the Normal and Bright channe

Switched Cascaded Inputs for High Gain Channel Make your 5E3 scream without a boost pedal

Preamp Local Negative Feedback Tune your cascaded high gain preamp tone

Tube / Solid State Rectifier Switch: Harsh or Mellow rectification at the flip of a switch

Edge Deluxe Mods What Fender and the Edge did to customize the Edge Deluxe

Howard Dumble Tweedle Dee Mods Some interesting mods

1/4 Power Switch: Dump 3/4 of the amp output for lower volume

10% Power Switch: Dump 90% of the amp output for true bedroom level output

10% Power Jack: Use your Aux jack as a 10% output jack

10% Power In External Box: External box goes between your amp and speaker to dump 90% of the amp power

1/2 Power Switch: Pentode / Triode switch to cut power tube output for lower volume

Mute Switch: Kills all sound from the amp

Add an FX Loop: Simple, passive FX Loop

Change Tone Cap Value: Reduce the tone and volume control interaction and make the tone control more useable

Framus Mid Tone Control: Add a mid tone control that goes from tweed flat to blackface mid scoop.

Baxandall or James TB Tone Stack: A very effective tone stack.

Standby Switch 'Pop Reduction' and Current Surge Protection. Everyone should do this simple mod

Add a Variable Voltage Regulator (VVR3) Another low volume practice option

Bleeder Resistor: Safely bleeds off high voltage DC after power down

Rectifier 'Backup' Diodes: Cheap amplifier insurance. Everyone should do this simple mod

Simulate Tube Rectifier: Voltage Drop and Sag Using a Solid State Rectifier and Sag Resistor

Cliff Jack Fender Style Wiring: Use Cliff jacks for the guitar inputs.

2 Input Jacks Instead of 4: Drop the "Low" jacks

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1 Input Jack Instead of 4: Select the Normal High or Bright High channel

Input Jack Jumper Switch: Jumper the input jacks without a jumper cable

Humbucker Switch: Keep the 5E3 from 'farting out' when used with high output pickups

Add a simple Line Out Jack.

Eliminate Volume Interaction: Remove some charm but simplify the 5E3's use

6.3v Filament Heater Artificial Center Tap: Cut 60Hz heater hum

Hum Dinger Adjustable Heater Artificial Ground: Balance heater voltage for min hum

Elevate 6.3v Heater Center Tap: Reduce heater hum.

LED Pilot Light: Simple LED circuit using 6.3v heater power

Add Reverb: 3-tube compact reverb circuit from the Black Face Princeton Reverb

Add Tremolo: 1/2-tube compact tremolo circuit from the Black Face Princeton Reverb

Balance the Phase Inverter

How to Lacquer a Tweed Cab by Cab Maker Extraordinaire John Mergili of www.mergili.com

Other 5E3 Modifications

Heater Artificial Center Tap to minimize 6.3v heater hum

Optimized 5E3 Layout My take on a better layout

5E3 Point-to-Point Layout If you want to build your Deluxe Old, Old School

Single vs. Split Ground Bus Single "star" ground bus layout

Standard 5E3 DC Voltages Use this to check your voltages

5E3 Speaker Suggestions

The Evolution of the Fender Deluxe and Deluxe Reverb Circuit

Download the Duncan Power Supply Designer II Here's the 5E3 file

Build a two tube 1 watt Deluxe Micro Amp: One 12AY7 + 12AU7 = Tweed micro fun. Now with headphone out!

Build a Bucking Transformer to lower your amp's voltages to vintage level

Inexpensive Line Conditioner for clean constant voltage

Build a Light Bulb Current Limiter for new amp startup and troubleshooting

Create a Vintage 5E3 Deluxe Tube Chart

The Fender 5E3 Deluxe is a fantastic sounding classic tweed (1950's) amplifier and I encourage everyone to build it 'stoc
sample its tone before modifying its circuit (except the switched feedback mod--just do it!) but it does have some limitatio
can be rectified with simple mods. Early breakup and lack of headroom are 5E3 hallmarks but there are times when more
headroom is needed and the simple addition of a feedback loop switch can keep your signal clean at higher volume.

The 5E3 is also known for being 'unfriendly' to high gain inputs such as boost, delay or reverb pedals and even humbuck
can push the Deluxe too far and cause it to 'fart out.' Adding a phase inverter grid stopper resistor or Master Volume can
high gain problem and a single capacitor change can make it love humbuckers and other high output pickups. The 5E3 is
known as a 'gain monster' but you can change that with a cascaded high gain channel switch. Most of the mods on this p
switchable so you can preserve the standard 5E3 tone but have the option to change it when needed. My personal favor

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are the Switched Feedback, Master Volume and High Gain Channel mods which complement one another and spread th
tonal palate wide open.

The Unmodified 5E3 Deluxe

Click the image to view the full size layout diagram. Click here to download the DIYLC file so you can modify this layout
yourself. A split power amp/preamp ground bus design is used.

The 5E3 Deluxe Schematic with Signal Flow and Annotations

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Click the image to view the full size (readable) annotated schematic. A non-animated .gif file version is here or the p
is here.

5E3 Layout with Signal Flow and Annotations

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Click the image to view the full size (readable) annotated layout. Notice how convoluted the signal path is compare
schematic. A schematic shows electrical flow while a layout diagram shows the physical location of the amp's compo

Switched Negative Feedback

This is my favorite mod for the 5E3. It changes the amp from a one trick pony to a very versatile amp by giving you mu
clean headroom at the flip of a switch so higher volume 'clean jazz' can be added to the 5E3's repertoire. Flip the switch
you have your unaltered beloved 5E3 tone. Adding Negative Feedback (NFB) 'civilizes' the 5E3 amp by decreasing
increasing headroom, flattening frequency response and increasing bandwidth. It also decreases audible noise
NFB will also make the 5E3 more pedal friendly. Signal boosting effects like gain boost, reverb and delay can push the
hard and cause funky sounding frequency doubling phase inverter blocking distortion. NFB reduces this distortion.

NFB also tends to sharpen the divide between clean and overdrive. The cleans are much cleaner and distortion will
later giving you more headroom but when distortion does occur it tends to happen quicker so there can be more contras
between 'soft' and 'hard' picking improving the amp's playing dynamics. The unmodified 5E3 tends to break up ear
smoothly transition into more overdrive distortion. NFB fundamentally alters the overdrive tone and shifts the balance of o
between the preamp and power tube (reduces power tube distortion). NFB also makes the amp more humbucker pickup
because it helps clean up the lower frequency distortion that can be overbearing and cause the amp to 'fart out' with high
pickups.

This relatively easy 3-way feedback switch mod allows three distinct flavors of amplifier:

1. Feedback with no cathode bypass capacitor - lowest gain with tight lows, sharp transition to distortion, less noise and
extra headroom for a very clean and civilized tone. This really transforms the amp and makes it much more versatile.

2. No feedback but with no V2A cathode bypass capacitor - moderate gain and civility--a nice compromise tone. T
position reduces V2A's (2nd preamp) gain which shifts the 5E3's distortion balance so you'll get less preamp and ph

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inverter distortion but more power tube distortion at the same volume. If you do this mod you owe it to yourself
around with this setting, it's pretty cool. This setting is also great with boost and distortion pedals.

3. Normal 5E3 configuration with no feedback and the cathode bypass capacitor in circuit - highest gain and maximu
breakup tweediness.

The amp's output signal is tapped at the speaker jack, run through a voltage limiting 56k 1/2 watt NFB resistor and injec
V2A cathode (pin 3). Thanks to Tony Bones for the corrected schematic.

If you use effects pedals, especially boost pedals, be sure and check out how the amp works with them and sample the o
tone in all 3 switch positions.

Kley's Demo of 3-Way NFB Switch

5E3 Negative Feedback Mod Tone Test

Kley says "ON-ON-ON switch" but it's really an ON-OFF-ON switch.

To determine the amount of NFB sounded best to me I inserted a 50k ohm linear pot between the speaker jack tip and V2
cathode for testing to vary the feedback resistance to find my sweet spot. I initially left the cathode resistor bypass capac
place but I soon realized it soaked up all the feedback. There was very little if any amplification or tone change with a swe
approximately 22k to 50k.

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I carefully clipped the input leg of the bypass cap and tried again. Before trying the feedback pot I listened to the amp wit
clipped cap. It caused a significant drop in gain from the V2A driver which added headroom. I then used alligator clips to
feedback pot and tried again. Wow, I was surprised by how much difference the feedback made to the overall tone and p
After playing around for a while I settled on using a 56k feedback resistor mounted directly to the three-way feedback sw

The 56k feedback resistor is correct for a speaker output of 8 ohm and will supply a light level of feedback. You can incre
feedback by reducing the feedback resistor value. A 39k resistor will increase the feedback by 41% and a 20k resistor wi
a Marshall JTM45 2.8 times more feedback. The Fender tweed Princeton amp used 22k feedback resistors and the twee
Harvard used a 56k (both with 8 ohm speakers) so feel free to try anything between 20k to 100k with an 8 ohm speaker t
will give more feedback, civility and clean headroom).

If your speaker out is 4 ohms then use a 39k resistor and if your speaker out is a 16 ohm then use a 75k resistor. Whe
changing the feedback source from one output transformer secondary to another you change the feedback resistance
factor of 1.41 for one step change (for example going from a 2 ohm speaker tap to 4 ohm), a factor of 2 for 2 steps (exam
ohm to 8 ohm), or a factor of 2.83 for 3 steps (example 2 ohm to 16 ohm).

Speaker Tap and Feedback Levels

Speaker Tap 5F6A Light Feedback Moderate JTM45 Heavy
2 ohm 27k 5F6A 20k 10k
4 ohm 39k 27k 13k
8 ohm 56k 39k 20k
16 ohm 75k 56k 27k JTM45

Moderate is 41% more feedback than Light. Heavy is 2.8 times more feedback than Light.

If your output transformer has multiple outputs and a speaker impedance switch connect the NFB wire to the 8 oh
on the transformer side of the impedance switch. That way your amp will always get the correct amount of NFB no matte
impedance speaker you are running.

When you do this mod you have a 50/50 chance of having a loud squeal when you power up the a
after the mod.
So be ready to turn the amp off immediately. If your amp does squeal you simply need to swap the output transformer's p
OR secondary wires (don't swap both pairs or you will be in-phase again). The two primary wires (normally brown and blu
from the output transformer to each power tube's pin 3. If your primary wires are too short or hard to reach you can also j
the speaker jack wires (output transformer secondary wires) to fix the squeal (yes, it's OK to connect the green wire to gr
the black wire to the speaker jack tip). The squeal is caused by the output transformer and preamp tube V2A being in ph
causing positive feedback. Switching either of the two pairs of wires will make them out-of-phase and give the desired ne
feedback.

3-Way Switch: Normal / No Cathode Bypass Cap / Feedback

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Three-way switch to implement feedback and yet still have the option to switch back to the normal 5E3 configuration of a
resistor & a bypass capacitor. Switch is ON-OFF-ON SPDT or DPDT (Single or Dual Post Dual Throw). Feedback signal
from the speaker jack's 'Tip' terminal.

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Photo by Mark Herrick.

Feedback Switch With Speaker Impedance Switch

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Speaker Selector Switch on left (3-way slide switch) with 56k feedback resistor connected to the switch's 8 ohm input.
connect the feedback resistor to the Speaker Switch's output wire or the feedback level will change when the switch ch

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Notice only half of the Dual Post Dual Throw (DPDT) switch is used for the Feedback Switch. A Single Post Dual Throw
all that's required but I had a DPDT on hand. Feedback Switch moves in and out with 'IN' being Normal 5E3. Rotary
speaker impedance selector switch is on the left with the 56k feedback resistor connecting the center 8 ohm input w

Here's an excellent demo of a 5E3 with the 3-Way NFB Mod + Lead Channel Mod + TMB Tone Stack that sounds like a
blackface by Kley that shows some of the tones you can add with switchable mods.

https://youtu.be/_RUGgSOUKqk

Foot Switchable Negative Feedback

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Feedback Switch must be ON for Foot Switch to control Feedback. Footswitch closed = NFB ON and if no plug is inserte
ON (but still controlled by Feedback Switch). The foot switch jack is a Switchcraft RA49B-12A which is insulated from th
because all three jack terminals carry the NFB signal. Note the jumper from the Foot Switch jack's Sleeve terminal to th
terminal.

I was very pleasantly surprised by this mod. The three switch positions really change the fundamental flavor of the
offers a greatly expanded tonal palate. A 5E3 with feedback does not sound like a 5E3 so it's like having a completely
amp at the flip of a switch. Feedback greatly reduces distortion and adds a lot of clean headroom. It's an easy and I belie
worthwhile modification. With the switch in the 'Normal' position the amp is completely unchanged.

Chassis Switches

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Add a Master Volume

This is my third most favorite mod for the 5E3 (behind the 3-way NFB and Lead Channel mods) and it's even easier than
negative feedback mod above. Adding a Master Volume allows you to crank the Normal and Bright volume controls and g
sweet 5E3 preamp overdrive distortion but then lower the overdriven signal with the Master Volume as it flows into the po
tubes to keep the output volume low for low volume high distortion output. It's a great mod for low volume practice and w
boost pedal and you can really make your preamp tubes scream for mercy at low volume.

With the 5E3 you can put the Master Volume before or after the phase inverter (tube V2B) with good effect because the 5
cathodyne phase inverter puts out approximately unity gain (no actual gain) which means it doesn't amplify the signal so
Master Volume can go before or after it. Placing the Master Volume before the phase inverter (PRE Phase Inverter M
Volume) will allow you to control the amount of the 5E3's infamous phase inverter overdrive 'double frequency' d
at high volume levels or when using pedals that boost the input signal. Preventing the phase inverter from going int
extreme frequency doubling distortion can result in a much sweeter, tastier overdrive tone. Phase inverter double frequ
blocking distortion is the reason why high gain modifications to the 5E3 are not popular (see my Cascaded High G
Channel Mod below). With a PRE Phase Inverter Master Volume you can easily dial in how much phase inverter distortio
through to the power tubes. If you want to drive a 5E3 hard with hot pickups or effects then the Pre Phase Inverter Maste
will serve you well. It will make the 5E3 much more pedal friendly because the 5E3's phase inverter distortion can make a
reverb, delay and boost effects.

PRE PI Master Volume Schematic

You simply replace the phase inverter's 1M grid leak resistor with a 1MA pot. Although there's DC voltage on the pot the
1.5 volts across the pot so normally the pot isn't scratchy.

Your other option is placing the Master Volume after the phase inverter (Post Phase Inverter Master Volume or PPIMV) w
allows the phase inverter to add overdrive distortion as usual and keep the overdrive tone truer to the classic 'tweed Delu
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Placing the MV after the phase inverter is the standard location for most amps because most other amps use the long ta
(LTP) phase inverter which is a true gain stage. Having the master volume after the PI is more effective for controlling ou
volume in amps with long tail pair phase inverters but adds nothing to the 5E3.

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Depending upon where you put your master volume pot you may have to use shielded cable to prevent noise or osc
You definitely need to use shielded wire if you put the master volume in place of the standby switch due to the noisy AC i
of the chassis. The longer the wire run the more benefit from using shielded cable. I use RG174 when I need single cond
shielded coax wire in an amp. For multiconductor runs like the master volume shown below I use Canare L-4E5C Mini-St
Microphone Cable. Only ground one end of any shielded cable in an amp, preferably the signal input end, to keep from fo
ground loop. If you keep your wire runs short and away from the power transformer end of the chassis you'll probably be
non-shielded wire.

Pre Phase Inverter Master Volume in the standby switch hole. Notice how multiconductor shielded cable is used to keep
out from the power transformer and power lines. The cable shield is grounded only at the preamp end to prevent a grou
Photo by Mark Herrick.

Removing one of the 'Lo' input jacks can make room for a master volume pot and you won't have to drill a new hole
chassis. The 'Lo' jacks simply dump half the guitar signal to ground and you can do the same thing using your guitar volu
control. I recommend you remove the Normal Lo jack (see layout below). Just clip the wire that runs from the Lo jack to t
resistor on the circuit board. Clip it at the jack end and solder it to the top of the Normal HI jack's 68k resistor. Connecting
way will keep the Hi jack's grid stopper resistance at 34k (68K parallel).

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Remove Normal Lo Jack

You could also use the second speaker jack hole for a master volume pot. There is also room between the input jacks an
control for a Master Volume pot. Another option is placing the pot between the preamp tubes.

PRE Phase Inverter Master Volume

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The PRE Phase Inverter Master Volume requires only a standard 1 megaohm audio (log) pot. Running the long wire fr
Master Volume pin 2 to the tube socket under the circuit board can minimize noise by keeping the wire close to the meta
Note the 1M grid leak resistor has been removed (or one leg clipped) from the circuit board. Don't forget to clip or remov
grid leak resistor (in pink at far left of layout above)

The PRE Phase Inverter Master Volume is my recommended master volume modification for the 5E3. The mod s
replaces the phase inverter's (V2A) 1M grid leak resistor with a 1M log or audio pot. With the Master Volume full
5E3 circuit is completely normal--it's as if the MV isn't there so it won't change your amp until you dial down the
It also allows you to dial out nasty 'double frequency' phase inverter blocking distortion, control the balance bet
preamp and power tube distortion and of course practice with dirt at lower volume--especially when paired with
pedal.

Doing the Mod

Start by checking the voltage at the first filter capacitor to ensure it's below 50V. If it's higher than that drain the caps by s
the tube side of either V1 100K load resistor to ground.

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Next determine the location of your master volume pot. Solder the lead wires and optional bright cap to the pot before ins
Install the pot.

Remove the wire that runs from the 1M grid leak resistor to V2 pin 7. You can just clip it at the resistor but you should de-
from the tube socket.

You do not have to remove the under board wire that runs from the top of the 0.022uF cap to the 1M grid leak resistor (w
in light orange in layout above) just clip either leg of the 1M resistor and bend it up slightly so it won't make contact wit
anything. If you clip it right at a solder joint it will be easy to reverse the mod at a later date. Of course you can remove th
if you prefer.

Connect the pot's three wires as shown in the above layout.

Be sure and try the Master Volume dialed down about 1/8 of a turn so you can hear your overdrive tone with excess phas
inverter distortion dialed out. Same goes for reverb and delay effects.

PRE PI Master Volume With Volume Between Preamp Tubes

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This is what I ended up doing because I have a 'High Gain Cascade Channel' mini switch between the input jacks a
volume knob. This layout makes for very short wire runs. The 0.022uF capacitor was clipped at the top and bent down to
to the Master Volume pot pin 3.

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Master Volume pot placed between V1 and V2.

I like to leave the Master Volume turned down a little even when I want full volume because it adds some phase inverter
stopper resistance which eliminates nasty sounding phase inverter blocking 'double frequency' distortion.

Simple But Effective Trainwreck Type-3 Post Phase Inverter Master Volume (PPIM

Add a 1 megaohm audio (log) pot and two wires and you've got an effective post phase inverter Master Volume. As you
Master Volume pot down (counterclockwise, pot is shown shaft down) more of the opposite phase signals from the phas
are mixed together which cancels the signal out. I did this mod to my 5F6A Bassman and it works great.

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Modifications above are shown in green.

If you are anal you can completely eliminate the Type-3 from the amp circuit by adding a switch to disconnect the
Use a 1MA pot with a push-pull DPDT switch and wire one leg of the master volume through the switch so when the mas
volume knob is down the circuit is completely disconnected. Pull the knob up to activate the master volume. To do this yo
run the wire from the #1 (left) pot terminal to the upper left DPDT switch terminal, then run a wire from the middle left DP
terminal to the circuit board's left 220k resistor. The wire from the #2 (wiper) pot terminal would be wired as normal to the
resistor (see layout below).

Type-3 With MV ON/OFF Push-Pull Pot

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Master Volume knob Down = no master volume at all, Up = master volume on.

Master Volume + Vox Cut Control

I'm a big fan of the VOX style Cut Control because it's a great way to "trim the ice pick". Early in-the-circuit tone controls
substance of the overdrive tone. High freqs generate overdrive harmonics that fill in the top end. If you turn down a norm
control to reduce ice-pick highs you'll kill all the harmonics too. A cut control allows you to trim off very high ice pick
without removing all the high frequency overdrive harmonics. All high gain amps should have early and late tone co
this reason. You can just leave the cut control on full high and you have a normal amp circuit.

The Vox Cut Control connects the two power tube grids with a 220k audio pot and 4.7nF (.0047uF) capacitor to allow var
end cut. In a push-pull amp the guitar audio signals on the two power tube grids are 180 degrees out of phase with one a
mixing them together nullifies the signal, kind of like mixing matter and antimatter. The capacitor limits the effect to hig
frequencies but if you jumper around the cap the pot becomes a Trainwreck Type-3 Master Volume.

I like this very late tone tweak because it pairs well with an early tone control or stack. Use the early tone control to
overdrive tone and substance you want then use the Cut Control to fine tune the tone. The Cut Control affects only th
tubes.

Wire the cut pot as a variable resistor so that as you turn the knob up (clockwise) resistance increases. Up = more resista
brighter tone.

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220KA or 250KA pot (audio pot wired as variable resistor) and .0047uF 200v cap connect the two phase inverter ou

Master Volume + Cut Control on 5F6A Bassman

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The Cut Control is shown on a 5F6A but the mod is identical on a 5E3. The .0047uF Cut Cap can be supported by a
grounded terminal strip. You can turn a Cut Control into a Trainwreck Type 3 Master Volume by simply jumpering
the Cut Cap. An optional Master/Cut switch is mounted next to the Cut Pot. It is a SPST mini-switch. Close the switch fo
Volume and open the switch for a Cut Control. If you don't want the Master/Cut Switch simply delete it and you'll have a
Cut Control.

5E3 With the Post Phase Inverter Master Volume Mod

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This is a traditional and complex post-phase inverter master volume using a dual gang volume pot (one shaft turns both
wipers). This master volume simply inserts two volume controls between the phase inverter and power tubes. You must
the two signal paths like the layout above so either use different color wire for the two signal paths or mark them. If you m
in and outs of the channels you will get high pitched oscillation noise. One signal goes in pin 3 and out pin 2; the other si
in pin 6 and out pin 5.

Standard Unmodified 5E3

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Unmodified 5E3 shown here for comparison.

Phase Inverter Grid Stopper Resistor

Add a 470KΩ 1/2 watt grid stopper resistor to the V2B phase inverter (V2 pin 7) to smooth out its overdrive. I recom
this mod be done to all 5E3 amps. It won't affect the amp's clean tone but it will keep the overdrive tone sweet when pu
hard. Actually this is a good mod for any guitar amplifier that uses a cathodyne phase inverter like the 5E3.

High volume settings or using boost, delay or reverb pedals can push the phase inverter into extreme and odd sounding
frequency' blocking distortion. This unpleasant distortion is the reason why the 5E3 is known as not being pedal friendly a
high gain preamp mods are not popular--any boost in preamp output can push the phase inverter into nasty distortion. By
this resistor the 5E3's sweet preamp tube distortion won't get chopped up in the phase inverter.

An added 470k grid stopper slows the charge rate of the coupling cap that's upstream of the phase inverter. Slowing the
time reduces blocking distortion.

I believe a better solution to the phase inverter distortion problem is to forget the grid stopper mod and simply r
the 1M grid leak resistor with a 1MA pot to create a PRE Phase Inverter Master Volume pot which will allow you t
tune the grid stopper & grid leak resistor sizes to really control phase inverter distortion. By turning down the m
volume by about 1/3 you do the same thing as adding a 470k grid stopper and 470k grid leak to the phase inverte
nice thing about this master volume is when it's set a max the 5E3 circuit is unchanged from stock.

Phase Inverter Grid Stopper Resistor Mod

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470K resistor added to the phase inverter input to reduce odd sounding double frequency phase inverter overdrive dis

'Sweet Pot' Variable PI Grid Stopper Resistor Mod

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The 'Sweet Pot' allows you to vary the phase inverter's grid stopper resistor value. At 'Max Sweet Pot Volume' you ha
standard 5E3 circuit with no phase inverter grid stopper resistor but you can dial out phase inverter distortion by turning
'Sweet Pot Volume' (counterclockwise) by adding grid stopper resistance up to 1 mega Ω.

6L6 & EL34 Power Tube Upgrade

The 5E3 uses two 6V6GT power tubes but the very similar Fender 'Pro' 5E5 amplifier uses two 6L6GB tubes. We can us
as a modification roadmap to use 6L6 and EL34 tubes.

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After this mod you will be able to switch between 6V6 and 6L6 tubes simply by swapping out the power tube and rectifier
are some pros and cons to this mod. To get the most out of a 6L6 it needs higher B+ voltage than a 6V6 and more cur
output from the power transformer. But if you build the amp with a bigger power tranny then the 6V6 loses a lot of voltage
sounds stiffer and punchier with a noticeably tighter low end (sounds more solid state and less tubey).

Same thing with the output transformer. It needs a higher current rating so it won't just saturate at 6V6 levels (more 6L6 o
current = more saturation and compression with no more volume). But then a 6V6 loses it's compression and sounds mo
dynamic and solid state with a larger output transformer.

If the amp has a multi-tap output transformer (and all amps designed to run 6V6 or 6L6 should have them) most of the ou
tranny impedance mismatch can be handled by using a one step higher speaker impedance setting -- if the amp is desig
6V6 then set the impedance selector to 16 ohms with an 8 ohm speaker (or 4 ohm speaker with 8 ohm selected).

A 6L6 can also benefit from a hotter bias from a smaller value cathode resistor. You can run another 250 ohm 5 watt pow
cathode resistor and switch it parallel for a 6V6/6L6 switch.

Installing a Webber Copper Cap style solid state rectifier will give the 5E3 about 60 more B+ volts to help the big 6L6 pow
breathe. The Copper Cap simply plugs into the rectifier tube socket. Rectifier voltage sag will also be eliminated which is
the 6L6.

The main reason to run a 6L6 is to get a slightly different clean and overdrive tone because you'll actually get a little less
power tube distortion because the big bottle power tubes need more signal on their grid to drive them into overdrive.

If you're building a new amp then consider building the Weber 5E3P Proluxe which features these upgrades: power trans
with 50 volt fixed bias output, a 35 watt output transformer, 6L6 power tubes, bigger filter caps and a fixed bias circuit.
BootHillAmps.com also offers a Proluxe kit. To upgrade an existing 5E3 to 6L6 power tubes you will need at a minimum a
upgraded output transformer, rectifier tube and cathode resistor and bypass capacitor. Higher capacity filter capacitors w
mandatory will help power the big tubes too.

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Click on the image to see the full size layout. The Proluxe features 6L6 tubes and fixed bias.

To run 6L6, 5881 and EL34 power tubes long term your 5E3 will need the following changes:
The 5E3's 250 ohm 5 watt cathode resistor needs to be bumped up to 250 ohm 10 watt to handle the higher output 6L6

The cathode bypass capacitor needs to be bumped up to a 25uF 50 volt cap.

You can run 6L6 tubes at standard 5E3 voltages but they prefer higher B+ voltages so a Weber Copper Cap or GZ34 re
tube works well. I'm a fan of the JJ GZ34S.

You can run 6L6 tubes with the standard complement of filter capacitors but the 6L6's extra current demands will generat
voltage sag than a normal 5E3. The 5E5 Pro uses four 16uF filter capacitors and the Weber Proluxe uses three 40uF 6

It's not mandatory but you should also consider upgrading both your power and output transformers for 6L6 operation. I r
the Allen Amps TP40D power transformer and TO26 output transformers for 6V6/6L6 operation:

The TP40D's Power Transformer specs: Upgrade power transformer for Deluxe/Deluxe Reverb amps. 320V-0-320V at 1
at 3A and 6.3V at 4.5A. Supports the use of 6L6 AND EL34 power tubes (*power tube sockets must be rewired for use w
power tubes). Center tapped heater winding, 50V bias tap, copper flux bands and internal hum shield brought out to a lea
grounding (ensures the quietest amp possible). 2-1/4" by 2-13/16" mounting centers. Unit is approximately 3/4" taller than
PT and weighs 6.7 lbs. Great for high powered 5E3 projects, too.

This power transformer will easily power EL34 tubes and the 50 volt bias supply will give you the option to install a fixed b
circuit for more output and punch. Check out my switched Fixed/Cathode Bias mod.

The TO26's Output Transformer specs: A beefier output transformer with 50% more core steel for Deluxe™, Deluxe Rev
similar 2x6V6 based amps bolts right in with the standard 3-1/8" mounting centers and has both 8 and 16 ohm taps for si
dual 8 ohm speaker configurations. Custom wound exclusively for Allen Amplification and made in the USA by Heyboer t
features a special high performance core steel for maximum output and clean bass. 7,000 ohm primary to 8 or 16 ohms.
works great with a 2x6L6 or 2xEL34 amp (with 4 or 8 ohm speaker) where the intention is to limit the output with core
saturation for natural compression and sustain. Low profile "fat" design to clear the speaker in combo amps. Excellent ch
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18W Marshall and similar 2xEL84 amps, too. Paper tube, paper-layered and specially interleaved windings, cool black ox
and 12" pretinned Unistrand leads for fast installation. Stainless-steel mounting hardware is included! 2-1/4"H by 2-1/2"W
1.6lbs.

Note that because of the difference between 6V6 and 6L6 output impedance differences (6V6 & EL84 ≈ 6-8k, 6L6 & EL3
KT88 ≈ 4-5k), if your output transformer is made for 6V6 power tubes like the TO26 you have to make an output imp
adjustment to get the most out of 6L6 or EL34 tubes. For 6L6 or EL34 tubes and an 8 ohm speaker you would use the 16
speaker tap. For a 4 ohm speaker you would use the 8 ohm speaker tap.

If your output transformer is made for 6L6 or EL34 power tubes you would do the opposite. When using 6V6 tubes a
ohm speaker you would use the 8 ohm speaker tap. When using an 8 ohm speaker you would need to use a 4 ohm spea

To run EL34, KT66, KT77 and KT88 tubes you will need a power transformer with at least 4 amps of 6.3v heater c
like the TP40D mentioned above.

To run EL34's you will also need to add a jumper to the power tube sockets' between pins 1 and 8 to tie the suppr
to the cathode. This has no effect on 6L6 or 6V6 tubes because their cathode and suppressor grids are connected intern
Adding the jumper simply allows you to run EL34 tubes.

EL34 Jumper

Jumper soldered between pins 1 and 8 to tie EL34 suppressor grid to the cathode. The jumper has no effect on 6L6, 6V
tubes.

Since the EL34 is a true pentode it will flow more screen current than the other tubes mentioned above so I reco
adding 1.5k 5 watt power tube screen resistors to control screen current and protect the EL34s during overdrive.

Screen Resistors Added to Power Tubes

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Although 470 ohm screen resistors are shown in the layout above, for EL34 tubes you should run 1k to 2.2k 5 watt s
resistors.

Switchable Bias: Fixed Bias / Cathode Bias

The 5E3 uses two 6V6GT tubes and a cathode resistor to bias the power tubes. I installed a 2-way toggle switch on my 5
between fixed and cathode bias. It already had the Proluxe mod which features these upgrades: power transformer with
fixed bias output, a 35 watt output transformer, 6L6 power tubes, bigger filter caps and a fixed bias circuit.

You will need a 50 volt AC power source to power the fixed bias circuit. You can either upgrade your power transformer to
a 50v tap, add a separate 50v transformer ($20) or tap the high voltage circuit. I really like the Allen Amps TP40D power
transformer which comes with the 50v bias tap. If you go with a separate 50v transformer it should have two secondary o
wires. Ground one of them and run the other one to the bias rectifier diode.

The fixed bias circuit is made up of one 1N4007 rectifier diode, one 1k 1/2 watt resistor, one 27k 1/2 watt resistor, a 50k l
and a 50uF 150v filter capacitor (see left end of the circuit board in the layout diagram below).

Note the orientation of the diode's stripe--it must be toward the power transformer to supply negative voltage. The filter ca
also needs to have it's + positive lead connected to ground because of the negative voltage of the bias supply.

With this bias switch it's like having two different amps. You can run the amp in standard 5E3 cathode bias and flip
switch to brownface Deluxe 6G3 fixed bias for more volume and punch and a more modern, dynamic (less compressed)
you haven't built your 5E3 yet then consider ordering it from BootHillAmps.com or Weber with the Proluxe fixed bias optio
you have to do is add the following Bias Switch Mod. With the Proluxe 6L6 upgrade and bias switch it's like having f
different amps. By simply swapping out the rectifier and power tubes and flipping the bias switch I can go from 5E3 Delu
cathode bias) to 6G3 brown face Deluxe (6V6 fixed bias) to 5E5 Pro (6L6 cathode bias) to 5E5-A Pro (6L6 with high pow
bias).

Fixed bias tends to sound cleaner and punchier, especially the lows and it develops more power than cathode bias. Cath
is known for sounding 'tubey', warm and compressed due to its fluctuating bias. The Fender 5E5 Pro uses a 250 ohm 10
cathode resistor so I went with the same. The Pro comes with a 25µF 25 volt cathode bypass capacitor which simply par
250 ohm cathode resistor to boost gain. I tried the cathode resistor unbypassed so I would get more 'cathode bias effect'
make the tone more distinct from the fixed bias mode. I ended up with a nasty sparky distortion when I pushed the power
desperation I clipped on a 25µF 50 volt bypass cap and the noise went away. I recommend a 25µF 50 volt cap (rather tha
factory 25 volt) because the voltage drop across the cathode resistor can easily exceed 25 volts.

The toughest part of this mod is lifting the circuit board to remove the ground wire connected to the two 220k pow
grid leak resistors. If you haven't built your 5E3 yet consider running the ground wire above the circuit board for access fo
mods.

You can avoid removing the old under board ground wire by disconnecting both 220k power tube grid stopper resistors fr
shared lower turret. Then use insulated 20 to 24 gauge solid core wire (solid so it will stay in place) to run from the groun
the disconnected resistor turret. Put two wire wraps around the turret. The wire insulation needs to be on the wire for the
wrap to keep the wire isolated from the turret. Then solder the resistors to the end of the wire. Make sure the resistor lead
make contact with the turret.

See this for instructions on setting the fixed bias.

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Bias switch at bottom center. The 250 ohm 10 watt resistor and 25uF 50V capacitor are mounted directly to the switch. D
ON mini-toggle switch selects either fixed bias or cathode bias. Click on any of the layout diagrams on this page to see th
image.

Bias Switch Detail

Solder the resistor, capacitor, diagonal jumper and wire leads before you install the switch in the chassis.

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Caption says 270 ohm 10 watt resistor but I recommend you stick with what the Fender Pro amp came with which was a
10 watt cathode resistor. I later added a 50uF 50V cathode bypass capacitor to solve a nasty noise issue.

High Voltage Tap Adjustable Bias

You can use this circuit loosely based on the JCM 800 to create an adjustable bias tap without using a power transfo
with a dedicated 50v bias tap. You tap high voltage AC from the rectifier tube and create an adjustable bias circuit. This
universal circuit that can be used on pretty much any amp. Turning the bias pot clockwise will make the bias hotter (mo
current). A 50k linear pot or trim pot offers lots of adjustment range so this circuit can bias everything from the 6V6GT to
and it isn't picky about the AC input voltage level.

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Note the two 25uF 100 volt filter caps have their + terminals connected to ground because the circuit is dealing with
voltage. Be sure and get the 1N4007 diode's polarity right with its stripe facing the rectifier. The bias pot is shown shaf
resistors are 1/2 watt rated. The black wire at the top goes to ground. The blue wire at bottom right carries bias voltage
power tube grid leak resistors.

The two filter caps can be anything from 25uF and up, and 100 volts and up. Personally I like to use 100uF 100v caps fo
circuit. For the bias pot you can use a normal type pot, a screwdriver slot pot or a trim pot.

How It Works
High voltage AC from the power transformer enters the circuit at the 220k voltage dropping resistor. The diode acts as a
inverter creating 60Hz pulsed negative voltage DC (simply turning the diode around would give you positive voltage). The
negative DC is filtered by the two 50uF filter caps and 15k resistor. The caps and resistor form an RC (resistance capacit
pass filter to smooth the DC and remove the 60Hz ripple current. The bias pot + 27k resistor form a variable resistor that
combined with the 15k resistor create a variable voltage divider. Lowering the bias pot resistance sends more voltage to
which moves the output DC bias voltage on the grids closer to 0 volts which allows more power tube bias current to flow
the bias hotter.

JCM800 Bias Circuit

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My circuit's values have been modified to make it a more universal circuit.

Cathode Bias Switch

This is a way to adjust a cathode biased amp's cathode bias level. A 3-way SPDT ON/OFF/ON switch can offer three lev
cathode bias to tweak the power tube's tone.

In the center position only the 510 ohm 5 watt resistor is used for cathode resistance for the coldest bias. In the left positi
5w and 510 ohm resistors are paralleled to give 406 ohms for a moderate bias. In the right position the 470 ohm 5w and
resistors are paralleled for 244 ohms for a close to standard 5E3 Deluxe bias level which would be around 98% of max d
with 100% being the upper safe limit.

You can alter the resistor values to work with 6L6 tubes by bumping the wattage up to 10 watts for all three resistors and
bypass cap's voltage rating up to 50v.

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The 3-way switch allows you to set three levels of power tube cathode bias.

Fixed and Cathode Bias Measurements

With the ability to switch between fixed bias and standard 5E3 cathode bias I measured the amp bias with both 6V6GT a
Sol 5881 reissue tubes.

270 ohm Cathode Resistor is shared between both power tubes. The 5E3 and 5E5 Pro both used 250 ohm cathode resis
bumped it up a little in an attempt to compensate for higher modern supply voltages (after trying the 270 ohm resistor I
recommend you go with a 250 ohm).

Groove Tubes GT5U4 rectifier tube

Tung Sol 6V6GT Reissue

12 watts max dissipation

Cathode Bias

408v B+1

381v Plate to Cathode

24.1v Drop across the Cathode Resistor

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89.3ma Total Cathode current, 84.8ma Total Plate current, 42.4ma per tube:

Gives 16.2 watts dissipation and 135% of max (extremely high! For cathode biased amps 100% of max is the u

I also measured the cathode current using the transformer shunt method

V3 40.8ma Plate current:

Gives 14.8 watts dissipation and 139% of max (extremely high!)

V4 38.9ma Plate current:

Gives 14.1 watts dissipation and 132% of max (extremely high!)

My B+1 voltage at 408v is just too high to safely run 6V6GT tubes with a GZ34 rectifier tube and the fixed bias se
can flip the bias switch and run the 6V6GT in fixed bias mode and adjust the grid bias voltage for an acceptable dissipatio
but the tube is not running anywhere near its sweet spot with the B+1 so high. Using a 5Y3 rectifier tube will drop the B+
low enough to safely run 6V6GT tubes. You can easily switch the power tubes and rectifier out to go back and forth from
and 6L6 tubes. You don't even have to re-bias in the cathode bias mode.

Tung Sol 5881 Reissue

26 watts max dissipation

Cathode Bias

395v B+1

363v Plate voltage (actually measured plate to cathode)

28.2v Drop across the Cathode Resistor

104.4ma Total Cathode current

Subtract 5.5% for screen current gives 98.7ma Plate current, 49.4ma Plate per tube:

Gives 17.9 watts dissipation and 69% of max

I also measured the cathode current using the transformer shunt method

V3 48.5ma Plate current:

Gives 17.6 watts dissipation and 68% of max

V4 50.2ma Plate current:

Gives 18.2 watts dissipation and 70% of max

Tung Sol 6L6GC

30 watts max dissipation

Cathode Bias

410v B+1

380v Plate voltage (actually measured plate to cathode)

29.8v Drop across the Cathode Resistor

110.4ma Total Cathode current (tube limit is 116ma)

Subtract 5.5% for screen current gives 52.2ma Plate per tube:

Gives 19.8 watts dissipation and 66% of max

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Fixed Bias (adjustable)

413v B+1

413v Plate voltage

Fixed Bias voltage was -35v

V3 50.8ma Plate current, 21 watts and 70%

Fender 5E5 Pro Schematic Bias Values

You can calculate the bias Fender set from the factory using the Fender 5E5 Pro amplifier schematic. It used 6L6GB tube
for 19 watts max dissipation and a 250 ohm 10w Cathode Resistor. From the schematic: B+ of 395v, 26v across the cath
resistor (1 resistor shared by 2 tubes), plate voltage is 395 - 26 = 369v. Plug that into my bias calculator and you get 49.2
plate current, 18.1 watts of dissipation which is 95% of rated max dissipation and comes in under the maximum safe di
of 100% for cathode biased amplifiers. Add in modern high wall voltage and the ensuing B+ increase and the bias can ea
exceed 100%.

Voice a "Lead" Channel

It's possible to voice one of the 5E3's channels with a more modern, Marshall "Lead" style tone. Remember, the
difference between the Normal and Bright channels is the bright cap on the bright volume pot which bypasses h
around the volume pot at low volume levels. At max volume there is no difference between the Normal and Brigh
channels so voicing one differently is a useful mod.

This mod will tighten up the bass and eliminate the 5E3's "fartiness" on one channel and make it much more ped
friendly. Modifying only the first gain stage removes some of the guitar's low frequencies so the clean tone will b
thinner but during overdrive later gain stages with larger coupling caps will allow low frequency intermodulation
distortion harmonics to be passed through the amp for a subtle but thick low end. This will not happen in an am
small coupling caps throughout. Your 5E3 will instantly become a more versatile amp with this mod.

When evaluating this mod be sure and try a boost pedal to get the gain and distortion up--this is when this mod
shines.

Here's an excellent demo showing the difference between the normal Bright channel and the "Lead Channel:" kd
Lead Channel YouTube Demo. Here's another demo of a Lead Channel 5E3 + Tube Screamer.

I used the Marshall 1987 Plexi as my roadmap for this "Lead" channel mod. We have to separate V1's cathodes so we ca
different value bypass capacitors on each channel. We must also remove the cathode jumper from pins 3 to 8 on the V1
socket. The "Lead" channel gets a much smaller, Marshall size .68uF 50v (or higher voltage) bypass capacitor to atte
lower frequencies which will clean up and tighten the overdrive tone. This capacitor size is kind of rare but it does not
be an electrolytic. The other, unmodified channel uses the original 25uF 25v cap so its tone will not change. You can mo
either the Normal or Bright channel but I suggest just modify the channel you use least. I mostly use the Bright channel s
modified the Normal channel. I left the Bright channel as Leo Fender designed so I can still get the standard magical 5E3
when I need it.

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Note that when we separate the cathode resistors we have to double their value to retain the same bias so V1B (my unm
channel) needs a 1.5K 1/2 watt cathode resistor (original was 820 ohms) to keep the same bias and tone. For the "Lea
channel (V1A) we move up to a 2.7k 1/2 watt cathode resistor to cool the bias for Marshall style asymmetric clipp
distortion. V1A's bias point is shifted toward cutoff so the guitar signal's negative lobe will get clipped at cutoff with a low
input signal leading to earlier distortion onset. Negative lobe cutoff clipping will also occur earlier than the positive lobe (w
clipped much later by saturation). With this asymmetric clipping the positive lobe carries the undistorted musical content w
negative lobe carries the distortion. Asymmetric distortion also adds even order harmonics and shifts the audio wave duty
away from 50% and makes the distortion sound more tubey and distinct from solid state distortion. Asymmetric distortio
often described as sounding "creamier" with less fizz than symmetric distortion. See Tube Guitar Amplifier Over
specific information on how overdrive distortion is created.

To add an eyelet for the new cathode resistor and bypass cap you'd have to pull the circuit board, drill the correct size ho
press in a new eyelet. Many of us make our own circuit boards so we have turret and eyelet tools to do this. What I actua
didn't want to pull the board) was glue the new bypass cap to the circuit board (I like Glue All by Superglue) then mounte
resistor to the cap leads. The glued cap will support the resistor and wire no problem.

We also want to reduce the value of the "Lead" channel coupling cap to .0047uF (from .1uF 400v or higher) to again su
unwanted bass frequencies but more importantly reduce V2A bias excursion recovery time and therefore reduce pre
blocking distortion which will also smooth and sweeten the overdrive tone. If you don't want to deal with splitting the
cathodes just installing the .0047uF coupling cap will go a long ways toward tightening up the tone of just about
tweed amp channel.

The final tweak is to replace the 100k plate load resistor with a 220K (minimum 1/2 watt but I prefer a 1 watt for less re
hiss). This will boost gain and hit the second preamp stage harder for more overdrive.

V1's extra caps and resistors can be a little crowded on the circuit board so it's a good idea to raise the hot cathode resis
higher off the circuit board than the coupling caps to aid cooling and minimize heat transfer from the resistors to the caps

This mod works great with a higher gain 12AX7 in V1 and/or with the Cascaded High Gain Channel mod.

Lead Channel Mod

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Modified components shown in pink. V1's cathodes are separated using two cathode resistors and two bypass caps. Do
to remove the cathode jumper between socket pins 3 and 8. The "Lead" channel gets a 2.7k cathode resistor, .68uF
cap, a .0047uF coupling cap and a 220k plate load resistor. The unmodified Bright channel needs a 1.5k cathode resis
only one cathode is drawing current through it.

Switchable Cascaded Channels for High Gain Channel

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This is my third favorite 5E3 mod (behind Switched Negative Feedback and PRE Phase Inverter Master Volume). I wa
Marshall style lead 'Gain Channel' for my Fender 5E3 Tweed Deluxe clone. This simple mod is like having a built-in all tu
overdrive pedal. It reroutes the Normal channel after it goes through the V1A preamp tube into the Bright channel to casc
gain stages together. The result is the Normal channel becomes a 'Gain' channel who's gain is controlled by a dedicated
preamp volume control so you can dial in as much tube overdrive as you want.

The cool thing is you can dial in preamp tube overdrive even at very low 'Master' volume levels. Also the Bright Ch
completely unchanged--it sounds exactly the same after this mod so you can still get all the sweet 5E3 Deluxe tone
need. There's even a switch option shown below so you can switch between a completely 'normal' 5E3 and this cascade
Cascade Channel mod is simple to do and simple to reverse if you ever want to go back. This mod pairs really well wit
"Lead" channel mod which cuts out the excess bass on one channel that can make the 5E3's fat bottom overdrive tone
messy. If you don't want to do the whole "Lead" channel mod just replacing the Normal channel's huge .1uF cou
with a Marshall sized .0047uF will go a long way in tightening up the overdrive bottom end. Reducing the size of th
preamp coupling cap will filter out the booming lows from the guitar but the larger downstream coupling caps will allow lo
frequency harmonics through which will fatten up the bottom end without being flabby or farty.

5E3 Deluxe With Cascaded Channels - Basic Mod

Changes in red. Normal Channel is rerouted to Bright Hi input jack switch terminal. Normal Volume pot becomes 'Gain'
V1A and B's cathodes must be separated by installing a 1.5k ohm (1/2watt or higher) cathode resistor and one or two 2
cathode resistor bypass capacitors on V1A and V1B's cathodes (pins 3 & 8). The Gain Volume pot uses pin 3 for input a
(center wiper) for output. A 680k ohm resistor is added to pin 2 to limit Gain Channel gain.

Simple Cascade--No Switch and No Coax

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Click on the image above for the full size layout. Changes are shown in 'Puke' Green. 'Gain' Channel gets amplified by
feeds into the Bright Channel. The Normal Volume control becomes the Gain control and the Bright Volume control beco
'Master' Volume. Notice the V1 cathode bias resistors and caps at the far right of the circuit board. To separate V1A a
cathodes you must change the existing cathode resistor from 870 ohms to 1.5k and install an additional 1.5k cathode re
22µF 25v bypass cap is optional for V1A as the extra gain it gives isn't needed). You must cut or remove the jumper o
V1 between the cathodes (pins 3 and 8). You must also remove the jumper from the Bright Hi jack between the
and switch terminals. You can download the editable DIYLC (DIY Layout Creator) layout file here: images\Guitar\5
Build\5e3p Tube Guitar Amplifier Cascade Inputs Coax.diy

When using the Bright Hi Channel simply turn down the Gain Volume and use the Master Volume and the amp will sound
completely normal. The Gain Volume does interact with the Bright Lo volume so use both the Gain Volume and the Maste
to control the Bright Lo volume.

Plug into the Gain Channel and use the Gain Volume to control the overdrive and use the Master Volume to control the o
volume. The new Gain Channel has a Hi and Lo input with the Lo input having the standard 6dB less signal.

This simple mod entails rerouting three wires at the volume controls, adding a resistor and separating the V1A and V1B c
grounds. You must cut or remove the jumper on tube socket V1 between the cathodes (pins 3 and 8). You must also rem
jumper from the Bright Hi input jack between the ground and switch terminals.

Separated Cathode Resistors & Caps

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Cascade Mod + Gain Channel Coax

I recommend the use of coax for the Gain Channel. Using RG-174 coax from the Gain Channel input jacks to V1A can
noise. Putting the 68k grid stopper resistors on the input jack will reduce the input path's exposure to noise. Do not gro
coax shield at the tube end, only ground it to the Preamp Ground Bus or a Gain Channel input jack ground tab.

68k Grid Stopper Resistors Directly to Coax

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The coax shield is connected to the preamp ground bus bar to the right of the resistors.

Coax Connected to V1A Pin 2

Coax shield is not grounded at this end. In this picture it looks like pin 3 is shorting to pin 2 but it isn't.
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An Optional Switch for Standard 5E3 Parallel or Cascaded Channels

This is what I did and I really like being able to switch back and forth between standard 5E3 and cascaded channels. I
4PDT (4 pole double throw) On-On switch. The switch contacts move vertically in the layout above. With switch lever IN
standard 5E3 parallel input channels. With switch OUT the Normal Channel cascades into the Bright Channel for pream
overdrive. With the switch lever IN the only difference between a stock 5E3 is the separated cathode resistors on V1 w
have very little impact on tone.

Parallel/Cascade Switch Installed

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It's not pretty but it works great--this is a very cool mod. The switch is a 4PDT (4 pole double throw) On-On switc

One other modification I recommend with the cascaded overdrive channel is to add a Pre Phase Inverter Master Volume
add a 470KΩ 1/2 watt grid stopper resistor to the V2B Phase Inverter input (V2 pin 7) to smooth out the Phase Inverter o
tone. The cascaded overdrive signal can really overwhelm the Phase Inverter and cause severe and nasty sounding clip
Pre Phase Inverter Master Volume will allow you to control how much Phase Inverter distortion is fed into the Power Tube
modifications can really sweeten the 5E3's overdrive tone. By adding a resistor or master volume the 5E3's sweet pream
distortion won't get chopped up in the phase inverter.

I'm very happy with the cascaded channel mod. I can dial in tube overdrive distortion on the Gain channel even at low Ma
volume levels and the Bright Hi channel is completely 5E3 Deluxe. You can also dial the Gain volume down and get a no
sounding Normal Hi and Lo tone.

Gain Channel Measurements

Signal generator 400Hz 91mv rms tone was injected into the guitar input jacks. Measurements were taken after one and
stages of amplification.

Gain - Hi Channel One Stage of Amplification

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This is the 400Hz signal after going through just the Gain Channel amplification (V1A) with the Gain Volume set to ma
Measured at Bright Hi input jack tip.

Signal gain for the Gain Channel gain stage = 0.852v rms out / 0.091v rms in = 9.36

The Gain - Lo Channel measured 0.44v rms with a signal gain of 0.44v / 0.091 = 4.8

The gain values for the Gain Channel are relatively low due to the 470k resistor placed at the Gain Volume input.

Gain - Hi Channel Measured at Master Volume Input - No Distortion

The signal has now passed through the Gain Channel and Bright Channel amplification (V1A and B) with Gain Volume a
the Master Volume at 9. This is the max voltage before distortion set in.

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Signal gain for the Gain Channel gain stage cascaded into the Normal Channel gain stage = 21.52v rms out / 0.852v rms

Gain - Hi Channel Measured at Master Volume Input - With Distortion

Conditions here are the same as above except the Master Volume is set to max (12). Max output dropped once distortio
This is all preamp distortion. The 5E3's phase inverter will also be driven into overdrive distortion and can add unpleasan
to the output tone.

Preamp Local Negative Feedback

This mod is an extremely easy to add local negative feedback loop that can be used to tune the overdrive tone o
high gain preamp. If you do a cascade mod like the previous mod this little mod is worth a try. The feedback is negative
the plate is 180 degrees out of phase with the grid. The mod connects a preamp's second or third gain stage plate back t
through a 22M to 44M resistor and .047uF (400v or higher) cap.

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A 22M to 44M resistor and .047uF 400v+ cap connect the preamp grid and plate together to form a local negative feedb
The mod can also be used on the "A" triode pins 1 and 2.

Like most amplifier negative feedback loops this mod will reduce distortion, tighten the transition from clean to
slightly reduce gain. At first blush I was going to recommend not using this mod on the first stage of amplification becau
cap fails as a short it could inject high voltage into the guitar circuitry but even if this does happen the large value feedba
will limit the current to 18 micro amps (.018 milliamp) or less so it's not a concern. This mod would be of relatively little us
first gain stage anyway since it is rarely overdriven.

If this NFB loop tightens up the tone too much try a larger value resistor like a 44M. The larger the resistor the less negat
feedback gets through to the grid. This is a pretty cool yet extremely simple circuit that should be experimented with in al
gain preamps.

Tube / Solid State Rectifier Switch

This mod will give you the choice of normal tube rectification with it's inherent voltage sag or give you solid state rectificat
its higher, stiffer voltage. Solid state rectification and its higher B+ voltage will make the amp punchier, speed up its dyna
modernize the tone. The standard 5E3 5Y3 rectifier tube drops the voltage about 60 volts compared to solid state so ther
an approximately 60 volt increase in B+ in the solid state switch position. You can add zener diodes in the line from the B
Diodes to the Rectifier Switch to lower only the solid state voltage. Place the zener diode stripe (cathode) toward the rect

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Open switch = tube rectification, closed switch = solid state rectification.

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The 'Backup Diodes' mounted on the rectifier tube socket pull double duty. When using tube rectification they extend the
tube rectifier and protect the amp from a rectifier tube short. When solid state is selected with the Rectifier Switch both
diodes work together to directly supply the rectified B+ .

Here's a chart from 300guitars.com showing the different rectifier voltage drops:

Note the 5 volt 3 amp heater current requirements for some of the tubes.

Edge Deluxe Mods

Fender and U2's lead guitarist, Edge worked to develop the Edge Deluxe.

The new reissue Edge Deluxe has a hand wired eyelet board similar to the original 5E3.

It comes with a $270, 12-inch, 15 watt Celestion Blue G12 Alnico speaker with 100dB sensitivity so it's louder than 5E3
speakers with their typical sensitivity of around 95dB. The Celestion Blue came in the original Vox AC30 so it sports a cla
British voice.

Its volume pots' taper has been made more logarithmic (less linear) to slow the action of the knob and make the volume
more usable. I believe this is a minor tweak and not worth the effort to swap out the volume pots even if you could source
correct taper pots.

The Edge Deluxe Chassis

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Photo by Skip.

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Both volume pots, both phase inverter caps and the V1 preamp are different from a standard 5E3 Deluxe. Both transfor
from Mercury Magnetics. Screen resistors have been added to the power tube sockets.

The normal 5E3 0.1uF phase inverter coupling caps are reduced to .022uF to tighten the bass response. The smaller
filters out unneeded very low guitar frequencies that cause farting out.

A higher gain 12AX7 is used in V1 instead of the original's 12AY7 (even though the Edge's tube sheet says 12AY7). This
playing clean to very low volume knob settings.

If you have an Edge Deluxe I HIGHLY recommend you try an 12AY7 in V1. I'm a fan of the current produc
Electro Harmonics 12AY7.

The Edge Deluxe also has added 470 ohm screen resistors to the power tube sockets. These resistors help protect the
tubes from excessive screen current during extended overdrive sessions and also slightly alter the overdrive tone, typica
better. For more info on how screen resistors affect overdrive tone see this.

All the amp's resistors are modern carbon film resistors instead of the noisier, period correct carbon composition found
original 5E3. Carbon film resistors generate less hiss than carbon comp resistors.

The power tube cathode resistor is a Brown Devil 250 ohm 8 watt where the original uses a 250 ohm 5 watt resistor.

The Edge also comes with very nice Mercury Magnetics Output and Power Transformers. The output transformer is a
59 and the power transformer is the FTDP.

Fender added two additional 250V 4A fuses to the circuit board for the 6.3V and 5V heater circuits for power transform
protection.

A 275V .01uF Class X cap has also been added across the mains hot and neutral conductors to reduce power line noise

Cooling slots have been cut into the rectifier end of the chassis.

Protective rubber switch dust covers and the Edge’s hand-designed grille logo badge were added.

The cab's tweed fabric is lacquered.

Other than that it's a standard tweed Deluxe.

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I list the above modifications in the following order of tonal importance:

12AX7 in V1 for much earlier breakup

Speaker swap

.022uF phase inverter coupling caps

Mercury Magnetics Output Transformer

Addition of screen resistors

Carbon film resistors

Mercury Magnetics Power Transformer

Volume pots with new taper

The 8 watt power tube cathode resistor, additional fuses, thermistor and .1uF RFI cap will not alter the amp's tone.

Howard Dumble Tweedle Dee Mods

Howard Dumble modified a Fender tweed amp which was nicknamed "Tweedle Dee". His Tweedle Dee mods reduce vol
tighten up the 5E3's bottom end and sweeten the overdrive tone.

Howard Dumble Tweedle Dee & 5E3 Deluxe Differences

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I have highlighted the differences between the Tweedle Dee and a standard Fender 5E3 Deluxe. The phase inverter tw
the most important of the Tweedle Dee mods. Howard added local negative feedback between the plate & grid, increa
plate and tail load resistance from 56k to 110k, increased the cathode resistor from 1.5k to 4.7k and added the phase
balance pot (PI BAL 10K linear pot). The LNFB 3.3M resistor should really be 33M.

Tweedle D Mods:

V1 12AX7 instead of 5E3's 12AY7 for more preamp gain

V1 cathodes separated to reduce channel interaction

V1 cathode resistors 1k compared to 5E3 equivalent 1640 ohm for a slightly warm 12AX7 bias

V1 coupling caps reduced from .1uF to .022uF to trim excessive bass frequencies

Local negative feedback from phase inverter plate to grid

Helps the phase inverter deal with the added gain from the 12AX7 V1 by reducing nasty cathodyne phase inverte
distortion, tightening the transition from clean to distortion and slightly reducing gain.

Phase Inverter plate load and tail load resistance is increased from 56k to 110k to add headroom

Phase Inverter cathode resistor is increased from 1.5k to 4.7k to cool the bias and make sweet sounding asymmetrica
clipping more likely

Phase Inverter Balance Control

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The circuit allows control of even order harmonic distortion generated by phase inverter imbalance. Add imbalanc
fatten the clean tone or balance the phase inverter to smooth out the overdrive tone.

A GZ34 rectifier tube is used in place of the 5E3's 5Y3 tube for higher voltage and less voltage sag

Filter/Reservoir caps are doubled in size from the 5E3's 16uF for less hum, less voltage sag and a tighter bottom end

An additional filter node is created to give V1 and V2 separate nodes and raise the second gain stage & phase inverte
voltage for more headroom & gain

Instead of one 22k voltage dropping resistor Howard used a 12k for B+3 and a 10k resistor to create B+4

Tweedle Dee mods to a 5E3 Deluxe shown in magenta. The Phase Inverter Balance Control is deleted for simplicity.
cathodes are not separated but the cathode resistor is reduced to 510 ohms to equal the Dumble separate 1k cathode r
The extra B+4 power node is deleted. These mods will get you very close to Tweedle Dee tone.

The downside to these mods is the amp becomes much less a tweed Deluxe and much more high strung. Whether you l
mods or not depends on what you want from your amp.

Mute Switch
This simple mod adds an On-Off (SPST) switch which grounds the V2A second preamp stage grid to silence the amp. Th
switch pop because the tube's grid leak resistor or volume pot act as switch "no pop" bypass resistors. I connected the sw
the second preamp stage grid because it will silence both channels. You cannot connect a ground switch like this to a ph
inverter or cathode follower because their grids usually have DC voltage on them. If you are not sure about grid voltage y
carefully measure for DC voltage on the grid pin. In 12A*7 tubes pins 2 and 7 are the grids.

Mute Switch

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Switch down = normal, up = mute by closing the switch and grounding the preamp tube grid with all guitar audio sent to
Simply insert the switch into the wire that runs from the Normal Volume pot to V2 pin 2 (grid). Connect the other switch te
a ground (using the preamp ground bus above).

1/4 Power Switch

This very cool 1/4 Power Switch is from the 20 watt Fender Eric Clapton Tremolux. The switch cuts the amp's output p
75%, down to about 5 watts. The switch places an 8 ohm 25 watt resistor in series with the 8 ohm amplifier speaker (fo
16 ohms and a 50% cut in power), then places a 16 ohm 25 watt resistor in parallel to bring the total speaker load back d
ohms and gives another 50% cut in power. The two resistors turn 3/4 of the amp's output signal into heat. With the switch
"Normal" position the 8 ohm resistor is bypassed and the 16 ohm resistor is disconnected.

The Eric Clapton Tremolux is a 2x6V6 fixed bias amp putting out about 20 watts so this circuit will work with any amp with
or lower output.

You can use the 1/4 Power Switch with the internal speaker and an external cab simultaneously but the speakers' load w
4 ohms so most of the power will bypass the 16 ohm resistor and flow through the 8 ohm resistor and speakers. Total loa
output transformer drops to 6.8 ohms but the Fender 8 ohm transformer is designed to work with two parallel speakers at
load so it's not a problem.

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The 8 ohm 25w resistor is placed in series with the amplifier speaker and the 16 ohm 25 watt resistor is placed in paralle
the total speaker load back down to 8 ohms. If your amp does not have an Aux speaker jack just connect the 16 ohm
and switch wire to the speaker jack's Tip and Ground terminals.

T=Tip and G=Ground.

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Large, gold colored 25 watt chassis mount resistors with 1/4 Power Switch at upper right. Photo by Tom Maciel

Mouser.com: 8 ohm 25 watt wire wound chassis mount resistor, 16 ohm 25 watt resistor. The resistors are about

These are chassis mount resistors and should be screwed or bolted to the chassis to dissipate heat. If they are n
bolted to the chassis their heat rating drops to about 5 watts.

For a 4 ohm output transformer secondary change the resistors to a 4 ohm 25 watt and 8 ohm 25 watt.

For a 16 ohm output transformer secondary change the resistors to a 16 ohm 25 watt and 32 ohm 25 watt.

For a 1x6V6 cathode biased amp like the 5F1 Champ 10 watt chassis mounted resistors would be fine.

10% Power Switch

Several builders have complained that the 1/4 Power Switch shown above, which cuts 75% of the output power, only sou
30 to 50% volume cut due to how our ears perceive volume. If you really want near-bedroom volume levels then a 90
power can be attained by using a 16 ohm 25W resistor for the upper resistor and a 12 ohm 25W resistor for the lo
resistor (8 ohm output transformer secondary). The 12 ohm resistor will burn most of the amp's output so for anything m
powerful than a cathode biased push-pull 6V6 amp like the 5E3 Deluxe you'll need to bump the 12 ohm resistor's power
to 50 watts to be safe (two 25 ohm 25 watt resistors in parallel will work).

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90% of the amp's output power will be converted to heat.

With the switch set to 10% both jacks will be 8 ohm with 90% of the amp power turned into resistor heat. These 25 watt
are adequate for 15 watt amps such as a 5E3 Deluxe or other cathode biased 6V6 push-pull amps.

These are chassis mount resistors and should be screwed or bolted to the chassis to dissipate heat. If they are n
bolted to the chassis their heat rating drops to about 5 watts.

For 25 watt amps such as a blackface or silver face Deluxe or other fixed bias 2x6V6 push-pull amps I recommend 50 wa
resistors (two 25 watt resistors in parallel will also give you 50 watts).

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For 50 watt amps such as 2x6L6 amps I recommend 100 watt resistors (two 50 watt resistors in parallel will also give you
watts).

For a 100 watt amp such as 4x6L6 amps I recommend 200 watt resistors (two 100 watt resistors in parallel will also give
watts). These would be difficult to stuff into an amp chassis.

For a 2 ohm output transformer secondary you would use 3 and 4 ohm resistors.

For a 4 ohm output transformer secondary you would use 6 and 8 ohm resistors.

For a 16 ohm output transformer secondary you would use 24 and 32 ohm resistors.

If your amp has a negative feedback loop then tap it from the main speaker jack tip connection.

10% Power Jack

You can wire your speaker aux jack as a 10% power output jack. This mod uses the circuit above but uses the main spea
switch to switch between full power and 10%.

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The main speaker jack on the left is 8 ohm full power. The 10% jack on the right is 8 ohm but 90% of the amp output p
burned in the two 25 watt resistors. These 25 watt resistors are adequate for 15 watt amps such as a 5E3 Deluxe or othe
biased 6V6 push-pull amps.

These are chassis mount resistors and should be screwed or bolted to the chassis to dissipate heat. If they are n
bolted to the chassis their heat rating drops to about 5 watts.

For 25 watt amps such as a blackface or silver face Deluxe or other fixed bias 2x6V6 push-pull amps I recommend 50 wa
resistors (two 25 watt resistors in parallel will give you 50 watts).

For 50 watt amps such as 2x6L6 amps I recommend 100 watt resistors (two 50 watt resistors in parallel will also give you
watts).

For a 100 watt amp such as 4x6L6 amps I recommend 200 watt resistors (two 100 watt resistors in parallel will also give
watts). These would be difficult to stuff into an amp chassis.

For a 2 ohm output transformer secondary you would use 3 and 4 ohm resistors.

For a 4 ohm output transformer secondary you would use 6 and 8 ohm resistors.

For a 16 ohm output transformer secondary you would use 24 and 32 ohm resistors.

If your amp has a negative feedback loop then tap it from the main speaker jack tip connection.

10% Power In External Box

This is the 10% power circuit in a box. The amp speaker out plugs into the IN jack and the speaker is plugged into the OU

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Another Box Using Cliff Jacks

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These are chassis mount resistors and should be screwed or bolted to the box to dissipate heat. If they are not b
the chassis their heat rating drops to about 5 watts.

For 25 watt amps such as a blackface or silver face Deluxe or other fixed bias 2x6V6 push-pull amps I recommend 50 wa
resistors (two 25 watt resistors in parallel will also give you 50 watts).

For 50 watt amps such as 2x6L6 amps I recommend 100 watt resistors (two 50 watt resistors in parallel will also give yo
watts).

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For a 100 watt amp such as 4x6L6 amps I recommend 200 watt resistors (two 100 watt resistors in parallel will also give
watts). I don't recommend this because the box would have to be really big to provide an adequate heat sink for the big r

For a 2 ohm output transformer secondary you would use 3 and 4 ohm resistors.

For a 4 ohm output transformer secondary you would use 6 and 8 ohm resistors.

For a 16 ohm output transformer secondary you would use 24 and 32 ohm resistors.

1/2 Power Switch

This is a standard 'Pentode / Triode' type switch that lowers the power tube output for lower maximum volume. In reality t
changes the 6V6 power tube from a pentode (5 electrodes: cathode, control grid, plate, screen grid and suppressor grid)
tetrode (4 electrodes since the screen grid is deactivated) but by convention we call it a pentode / triode switch.

A triode tube's plate normally 'pulls' free electrons from the cathode but a triode's plate voltage fluctuates as it amplifies a
audio signal. When the plate voltage drops it does not pull electrons as hard as it does when the plate voltage is high. Ad
fixed, high voltage screen grid makes a tube much more efficient because the screen's constant strong pull of electrons d
drop when the plate's voltage drops so the tube flows more electrons.

The Half Power Switch (ON-ON DPDT mini switch) connects the power tube screens (pin 4) to B+2 (normal full power pe
to the power tube plates (pin 3 for half power 'triode' mode). Removing B+2 and tying the power tubes' screen and plate t
deactivates the screen by allowing the screen voltage to fluctuate along with the plate voltage effectively creating a lower
'triode.' Running a pentode in 'triode' mode definitely changes its clean and overdrive tone so it's more than just a 'half po
mode.

Half Power Switch in the BootHillAmps.com SixShooter

Power tube screen grid is connected to either the plate in the triode mode, or the B+2 screen power supply in the pentod

This is a simple mod because there's room between the power tubes for the mini switch so the resistors can be connecte
between the tube sockets and switch. 470Ω 2 watt screen resistors are added to keep the screen voltage slightly lower th
voltage. These resistors have no effect on amp tone but give the added benefit of protecting the power tubes from exces
screen current which can extend the life of your power tubes.

With the switch lever 'IN' you get normal full power. With the lever 'OUT' you get 'tetrode' half power.

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This is my recommended layout with 470Ω 2 watt screen resistors always in circuit to provide excess screen current pr

Alternate Design With Screen Resistors Used only For Low Power

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470Ω Screen Resistors moved to switch input so they are only used in the 'Low Power' switch position. Use this layout if
want to alter your 5E3's circuit with the switch in the normal 'High Power' position.

FX Loop
Add a simple, passive FX loop. Effects like reverb and delay sometimes sound best when inserted after the first gain stag
volume/tone circuit. This simple mod works really well so I add them to most of my amp builds. The Normal volume contr
as the "send level" control.

The Send jack can also be used as a preamp out to another amp or recording rig. The Return jack can be used as a "pow
in" jack. You can also plug your guitar into the Return jack to bypass one gain stage and the volume/tone circuit for a rea
low gain, unprocessed tone. When plugging a guitar into the Return jack you will have to control the volume with your gu
volume control.

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Insert the jacks between the Normal Volume out and V2 Pin 2. The upper "Send" jack is non-switched Switchcraft 11 ja
lower "Return" jack is a three terminal Switchcraft 12A jack with shunt (switch)--just like the input jacks.

Here's a buffered, zero-loss, $85 FX loop kit that gets great reviews: Metroamp Zero-Loss FX Loop Kit

Change the Tone Cap Value

The 5E3's tone cap is an enormous 4,700pF which partly causes the strange tone and volume interaction we love about
The problem is it's such a large capacitor it dips into the mid frequencies and cuts the highs and mids when turning down
control.

Dropping the tone cap size down to 680pF to 820pF will leave the mid frequencies alone but allow you to cut the harshne
brighter guitar pickups exhibit.

Framus Mid Tone Control

This simple mid tone control was used in the Framus Cobra amp. It allows you to turn down the mids and go from a flat tw
frequency response to a mid scooped blackface tone. Use your guitar tone control to control the highs and you've go
flexible tone setup.

On the 5E3 you can leave its Tone Control intact and connect the output of the Normal Volume pot to the input of this Mid
and have both a high bleed interactive Tone Control and this Mid Control. You can also remove the Tone Pot and its .005
Cap if you like and just run the Mid Control.

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Simple but effective mid tone control. The caps and 100k resistor are NOT soldered to the back of the pot--that would
them out.

The component values can vary from 100k to 1M for the tone pot, .01uf to .001uF (50 volts or higher) for the tone caps a
100k (1/4 watt or higher) for the resistor. A 100k resistor reduces the depth of the mid scoop and places a lighter load on
compared to a 10k resistor.

Connect the 100k resistor to your preamp ground bus. The Mid Control must be downstream of a coupling cap to kee
voltage DC out of the Mid pot.

If you break the connection between the caps and resistor or resistor and ground with a switch you can eliminat
tone circuit's effect by opening the switch. This is called a Raw Switch because it lets raw, unfiltered guitar signa
through.

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Push-Pull 1MA (audio) pot wired as a "Raw Switch." Pulling the knob up breaks the connection between the caps and r
the guitar audio is not filtered. Special thanks to "FenderLover" for the idea of the "true bypass" (two wires on the left sid
switch).

Baxandall or James TB Tone Stack

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The James (or passive Baxandall) Treble/Bass tone stack allows more control with less quirks than the Fender/Marshall/
tone. Unlike the Fender tone stack you can achieve a mid hump by setting the treble and bass controls low.

Note: The Baxandall or James tone stack must have a coupling cap between itself and a tube plate. It cannot function as
coupling cap like the Fender/Marshall/Vox TMB tone stack.

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A 1MA Push-Pull Pot can be used as a Raw switch to effectively remove the tone circuit from the amp. When you rem
circuit's ground by pulling the Treble knob up all the tone shaping and circuit load disappear. More info on the tone circ

Standby Switch 'Pop Reduction' and Current Surge Protection

One modification I highly recommend is a resistor across the Standby Switch terminals. It will quiet or eliminate the Stand
Switch 'pop' by allowing a small current to flow around the Standby Switch to charge the Filter Capacitors. This prevents
surge when you close the Standby Switch.

You should always ensure the Standby Switch is in the standby position before powering up the amp. Turn on the Power
then wait around 15 seconds for the tube heaters to come up to temp and for the pop resistor to charge the filter caps en
prevent a current inrush which is what causes the pop. Preventing the current inrush will also make your filter caps last lo

The Valve Wizard recommends a resistor between 47k (2watt) or 150k (1watt). I had a 100k 2watt on hand so I used tha
the resistor eliminated all pop for my 5E3. If you still get a standby pop you can install a .047uF 1000volt disk capacitor a
Standby Switch terminals (in parallel with the above resistor if you choose to install both).

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Pop Resistor (grey 100k 2 watt) across the Standby Switch

Bleeder Resistor
Another mod to consider is a 'bleeder resistor' to bleed the charge out of the big filter capacitors when power is removed.
especially helpful when you test your amp with no tubes installed when the capacitor charge has no place to go and just
waiting to bite you. A bleeder resistor is a nice safety feature which can keep you from getting seriously zapped by your a
solder a 470k 1watt resistor from the first filter cap's + lead to ground.

Rectifier 'Backup' Diodes

Installing two 'backup' diodes can extend the life of your rectifier tube and prevent a dying rectifier tube from frying your p
transformer or amplifier circuit with high voltage AC. The backup diodes pre-rectify high voltage AC from the power trans
into pulsing DC and feed it to the tube rectifier which will power the amp and give you that loved tube rectifier voltage sag
cent 1N4007 diode has a 1000v peak-to-peak or 353v RMS peak inverse voltage (PIV) rating. The 5Y3 rectifier tube is ra
1400vpp PIV or 495v RMS on each plate. Having two diodes in series (one solid state and one tube) will increase the rec
circuit's peak inverse voltage to 848v RMS which should greatly increase the rectifier tube's lifespan. You're rectifier tube
outlive your amp with these backup diodes sharing the load. Here's a quote from the Valve Wizard's web page:

If we were worried about running a valve rectifier too close to its maximum Va(rms) [AC voltage rating], we could place o
more silicon diodes having a much higher peak inverse voltage in series with each anode, as protection elements. In the
valve rectifier can then be used with supply voltages up to twice the rated Va(rms). The silicon diodes will have no advers
on the normal operation of the valve rectifier.

I installed two 1N4007 diodes on the rectifier socket pins 3 to 4 and pins 5 to 6. Place the diode's stripe (cathode end) on
power outflow side (pins 4 and 6). I attached the power transformer high voltage output wires to the unused pins 3 and 5
of the normal 4 and 6). The AC power then flows through the diodes to the plate pins 4 and 6. The diodes are cheap insu
and I install them in all my amps.

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The stripe on the diode indicates polarity.

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Installing backup diodes greatly increases the peak inverse voltage (PIV or reverse repetitive maximum voltage Vrrm) ha
the tube rectifier to extend the life of the tube rectifier. Should the rectifier tube fail and short out damaging AC will not e
amplifier circuitry.

No Transformer Center Tap Hybrid Tube Rectifier

You can use a transformer with no center tap with a tube rectifier by installing the 'bridge half' of a bridge rectifier to pr
current return path. Two 1N4007 diodes running from the tube plate pins to ground will do the trick. Diode polarity is im
install the diodes with their stripes to the tube plates.

Hybrid Tube Rectifier With No Center Tap + Backup Diodes

Simulate Tube Rectifier Voltage Drop and Sag Using a Solid State Rectifie
Sag Resistor
Voltage drop is the amp's no signal voltage drop caused by the rectifier. A solid state rectifier will only drop about 1.4 vo
diode used so its drop is usually 3 to 6 volts. A tube rectifier will drop more voltage than a solid state rectifier. A GZ34 wil
to 15 volts more than solid state and the 5Y3 will drop around 60v more than solid state.

Voltage sag is the dynamic voltage drop that varies with current demand and causes compression of loud and quiet note

If your amp has a solid state rectifier we can simulate tube style voltage drop and sag by adding a sag resistor to the rec
output. To determine the value and watt rating of the sag resistor we need to know what type of tube rectifier we're trying
emulate (how much voltage drop do we want) and how much B+ current will flow through the resistor. We already know t
pulls about 80 milliamps of B+ current so we have that value. If you want to do this for another amplifier you can get a go
estimation of B+ current with this online calculator.

Here's a chart from 300guitars.com showing different rectifier voltage drops:

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So if we want to simulate a 5Y3 we need to drop about 60 volts.

The equation to determine the amount of resistance in ohms to drop a voltage is:

Resistance needed = Volts to drop / Amp B+ current = 60 volt drop / .080 amps = 750 ohms

Luckily 750 is a standard resistor size. The voltage drop from a tube rectifier is not linear and there's less sag at high
so I recommend you always round down to the next standard resistor size.

The equation to determine power in watts is: Watts = Volts * Amps = 60 volts * .080 amps = 4.8 watts

We need to double the watts to ensure the long term reliability of the resistor so I would use a 750 ohm 10 watt sag re
simulate a 5Y3 tube rectifier in a 5E3 with a solid state rectifier. The sag resistor would go between the solid stat
rectifier's output and first filter capacitor.

Add a Variable Voltage Regulator (VVR)

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VVR installed in a fixed bias 5E3P Proluxe to scale the voltage of the entire amp. If adding a VVR to a 5E3 then just ign
"Bias In" and "Bias Out" connections.

You can turn down the VVR for lower volume and not effect the tone too much. It's great for low volume practice. The VV
controls both the B+ and fixed bias voltages with one knob. If you have a standard 5E3 then you could use a VVR wit
fixed bias control. Adjusting voltage with the VVR will also allow you to fine tune your B+ voltage so you can bias your p
tubes in their sweet spot. This comes in handy when switching between 6L6 and 6V6 power tubes by using a higher volta
output GZ34 rectifier tube then use the VVR to set max voltage for the 6L6 and reduce the B+ voltage to keep from burni
6V6.

Other Ways to Reduce Your Amp's B+ Voltage

Modern wall voltages are higher than they were back in the 50's when Fender tweed amps were designed so today's wa
can increase your B+ by over 30 volts. Lowering your amp's B+ voltage can lengthen tube life and change its tone. You c
with a rectifier tube swap. Here's a chart from 300guitars.com showing the different voltage drops:

My Rectifier Tube Comparison

Solid State JJ GZ34S GT 5U4 JJ 5U4GB
AC in to Rectifier 682v AC 678 677 677
B+ 434v DC 416 392 384
Drop from Solid State - 18v 42 50
V2B Plate 252v DC 238 226 221
V2A Plate 206v DC 195 185 181
V1B Plate 207v DC 197 188 184
V1A Plate 201v DC 190 182 177
Power Tube Plate to Cathode V 403v DC 379 360 351
Cathode Voltage Drop 32.2v 30.3 28.6 27.7
6L6GC Cathode Bias Output @ 4ohms 17.9 watts 15.5 watts
6L6GC Fixed Bias Output @ 4ohms 32.5 watts 30.8 watts
Notes: Wall voltage measured at 122.3 volts rms. Power Transformer rated at 330v-0-330v. No power tube cathode resis
bypass capacitor is installed.

My power transformer is rated at 330-0-330 volts but actually puts out 341-0-341 under idle load and an input wall voltag
122.3v. With that I get 434 volts B+ with a solid state 1N4007 diode rectifier and 416v B+ with a JJ GZ34S rectifier tube (
I tried a Groove Tubes 5U4G to get down to a more 'vintage' B+ voltage. It gave me a 392v B+ (42v drop from solid state
5U4GB dropped the B+ to 384 volts (50v drop) which is low enough to run 6V6 tubes in my 5E3 in both fixed and cathod
modes. A standard 5Y3 would also lower the voltage enough for 6V6 tubes.

By simply swapping out the rectifier and power tubes and flipping the bias switch I can go from 5E3 Deluxe (6V6 cathode
6G3 brown face Deluxe (6V6 fixed bias) to 5E5 Pro (6L6 cathode bias) to 5E5-A Pro (6L6 with high power fixed bias).

It is also possible to drop your B+ voltage using a dropping resistor before your first filter capacitor. To take 20 volts off
B+ you can use a 3 or 5 watt 220 ohm resistor (this applies to a standard 5E3). A standard 5E3 pulls about 80 milliamps
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to determine the size of the resistor use these equations:

Desired voltage drop / amps = resistor ohms

20 volt drop / 0.080 5E3 amps = 250 ohm dropping resistor

amps * voltage = watts of dissipation

0.080 amps * 20 volts = 1.6 watts

So a 250ohm 3w or 5w resistor will drop your B+ around 20 volts. You could also use two 500ohm 2 watt resistors in para
the same voltage drop because they are the equivalent of a single 220 ohm 4 watt resistor.

To find the B+ current for other amplifiers use this easy to use excellent power transformer calculator.

For cathode biased amps we can install Zener diodes on the power transformer center tap to lower the B+ voltag
power transformer center tap is the return path for all the B+ current so it's a convenient location for controlling an amps v
Zener diodes do not cause voltage sag, they cut the voltage and hold it there. You can also use a resistor on the cente
the voltage will sag with current draw--this may or may not be desirable.

For a single Zener diode solder a ring terminal to its cathode (striped) end and bolt it to your chassis ground bolt. Solder
transformer center tap wire to the diode's other end. For 10 volt Zeners a 5 watt rating is all that is needed for most amps
also string together Zeners to drop more voltage:

The diode stripe marks the cathode and negative end of the diode. The other end is the + anode.

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For fixed-bias amps we need to connect the Zener string between the rectifier and the amp circuit, just like a sag
We can't use the center tap as above because it will affect the fixed bias circuit because negative voltage bias current flo
opposite direction and doesn't get cut by the Zener.

Install the Zeners with their stripe (cathode) toward the rectifier, the other end (anode) toward the first filter cap. Since ne
of the Zener is grounded we can't bolt the Zener to the chassis for cooling so be conservative with your Zener watt rating
wouldn't go above 10v for a 5 watt rated Zener.

One other option to lower B+ voltage is to build an inexpensive 'bucking' transformer to lower your wall AC voltage which
all the AC and DC voltages in your amp including the tube heater circuit. I use a bucking transformer for all my vintage am
to lower stress from high voltage and to make them sound more period correct.

Cliff Jack Fender Style Wiring

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Cliff jacks are isolated from the chassis and must be grounded via a ground wire. View is from the rear with jack holes

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Use 2 Input Jacks Instead of 4

This is how to drop the two "Low" jacks from any amp with the standard Bright/Normal/High/Low four input circuit:

Note the grid stopper resistors (pink) were reduced from 64k to 33k because the Hi input jacks use both 64k grid stop
parallel for 32k of grid stop resistance.

Another option is instead of removing one 64k grid stopper resistor and changing out the other for a 33k as shown above
simply run a jumper between the two 64k resistors so the signal goes through both for 32k of grid stop resistance.

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Use 1 Input Jack Instead of Four

This switch will allow you to select Normal High or Bright High channel using just one jack.

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Note the grid stopper resistors (pink) were reduced from 64k to 33k because the Hi input jacks use both 64k grid stop
parallel for 32k of grid stop resistance.

Another option is instead of removing one 64k grid stopper resistor and changing out the other for a 33k as shown above
simply run a jumper between the two 64k resistors so the signal goes through both for 32k of grid stop resistance.

Hi/Low Input Switch

This switch allows you to use one input jack and select Hi or Low output. The switch inserts a 33k/33k voltage divider wh
dumps half the guitar audio signal to ground--just like a standard Fender Low Input jack. With the switch open you have t
Input and switch closed you get the Low.

Jack mounted circuit on the left, circuit board version on the right. Download the high resolution pdf here and DIYLC fi

In the High position input impedance is 1M and grid stopper resistance is 33k--exactly as the 5E3 Deluxe.

In the Low position input impedance is 62k (1M in parallel with 66k) and grid stopper resistance is 33k.

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The factory 5E3 has a Low input impedance 138k and grid stopper resistance of 68k but this mod will give us a tone that
close to factory that I'll buy you a case of beer if you can hear a difference.

Channel Jumper Switch

Since channel jumpering is so common among Fender players this mod will let you leave your jumper cable at home and
the Bright and Normal channels with the pull of the Normal volume knob. You can plug your guitar into any jack and
get a Hi jack-to-Hi jack jumper.

Just swap out the Normal Channel volume pot for a 1MA Push-Pull pot with DPDT switch (Bourns Model PDB183-GTR).
prefer you can use a separate ON-ON DPDT switch to do the same thing. This switch will work on any amp that has F
style four inputs (Bright/Normal/Hi/Lo).

Note the wires between both Hi Jack ground and switch terminals have been removed (or clipped).

With the Normal volume knob down the input jacks function normally with the jacks grounded when nothing is plugged in
Normal volume knob up and the two Hi jacks are jumpered together for a fatter tone. Your guitar signal will flow through b
and V1B preamp tubes in parallel which adds some texture and complexity to the tone. For more info on channel jumper
this.

To install the switch first remove or clip both Hi jacks' wire that runs between their tip and switch terminals. Then r
the Normal volume pot and wire the three volume pot terminals normally. Wire the DPDT switch part of the pot as in the l
above and you're done.

5E3 Humbucker Switch

2-Way Humbucker Switch

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High output pickups can tax the amplifier's power supply and cause low frequency "farting out." They can also push the p
inverter into unpleasant sounding double frequency distortion. You can prevent this by reducing the amount of bass pass
coupling cap. You can modify just one channel and use it for high output guitars.

With this mod you use the Bright Channel and select the 22nF (.022uF) 630v coupling cap for humbucker guitars or the s
100nF (.1uF) 630v cap for non-humbucker pickups. The switch is an ON/ON SPDT (Single Post Dual Throw) mini switch
smaller value coupling cap will filter out some unwanted low frequencies.

The "Humbucker" position also works very well with high output effects pedals such as gain, reverb and delay.

For a 3-way option use an ON/OFF/ON SPDT mini switch and connect three 630v caps like this: 22nF/22nF/68nF (which
to .022uF/.022uF/.068uF)

3-Way Humbucker Switch

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The mid switch position will give 22nF. The left position will give 44nF (22nF + 22nF). The right position will give 90nF ( 2
68n = 90nF which is close enough to the 5E3 standard 100nF or .1uF).

Add a Simple Line Out Jack

This, along with a headphone jack, is a common mod request. Line outs work well for feeding effects boxes but don't wor
recording or amplification (unless the signal will be sent out a guitar cab) because an amp's guitar speaker does a lot of t
shaping, high frequency de-emphasis and adds speaker breakup distortion.

tdpri member mungus comments: The raw amp output sounds like crap until its passed through a guitar speaker to tone
excessive high end - hence the need for some kind of cab simulator.

That's why using a microphone in front of the guitar amp's speaker is the most common way to feed a PA system. If you
microphone use a high quality instrument microphone placed 1/2 to 1 inch from the grill cloth and about halfway between
center and edge of the speaker cone for best tone.

With the cautions out of the way here is a very simple Line Out that does capture the tone and distortion of the entire am
for the speaker.

Matchless Spitfire Line Out Jack

8 ohm speaker jack tip terminal tapped as signal source for the addition of a Line Out jack.

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The Matchless Spitfire Line Out jack gets its signal from the 8 ohm speaker jack's tip terminal and the 22K ohm and 3.3K
resistors form a voltage divider to lower the signal voltage to line out levels. Of course the amp's output volume control w
the Line Out volume too--which brings up an important point. A speaker must be attached to the amp's speaker jack w
using the Line Out to prevent output transformer damage. This tiny little circuit cannot load the transformer properly
speakerless.

If you are cramped for space for an additional jack you can use your amp's 'extra' speaker jack or even add a small 3.5m
player size) jack to save room. To convert the extra speaker jack replace the tip-to-tip green wire with the 22K resistor an
3.3K resistor.

You can replace the 22k resistor with a 250k reverse audio pot (wired as a variable resistor) as a line out level (volume)
I recommend you also add a 5k resistor between the pot and either jack to set the max volume level. Run the level at min
volume when not using the line out.

5E3 Line Out Jack

The resistors form a voltage divider and cut the speaker signal by 87%. In this layout the Switchcraft output jacks ar
grounded to the chassis. If your output jacks are insulated then the Line Out's ground terminal will need to be connec
ground. The jack can be full size 1/4" or 1/8" (3.5mm) mp3 player size.

If you install the Line Out jack near the speaker jack you can use the 22K resistor itself to make the connection from the s
jack tip terminal to the Line Out tip terminal. Then run the 3.3K resistor from the Line Out jack tip terminal to your Line Ou
ground terminal. If you use metal Switchcraft style jacks that ground themselves use a star washer to ensure a good Line
ground. If your Line Out jack is insulated from the chassis then you must connect the Line Out jack's ground terminal to a
ground point.

The formula to calculate the % of attenuation is:

% Attenuation = 1 - R2 / (R2 + R1) * 100

% Attenuation = 1 - 3.3 / (3.3 + 22) * 100 = 87%

A more powerful amp like the 5F6A Bassman would need more attenuation so dropping R2 to 1K would give you 95% at
Increasing R1 or decreasing R2 will give more attenuation.

Gerald Weber describes a Line Out mod specifically for the 5E3 in his book, A Desktop Reference of Hip Vintage Guitar
He uses a 2.2K 1/2 watt resistor in place of the 22K and 100 ohm 1/2 watt in place of the 3.3K. His resistor values cut the
voltage by 95%.

Eliminate Volume Interaction

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The Volume and Tone control interaction is part of the charm of the 5E3 amp but some people would prefer to simplify the
operation of the amp. If you are new to the 5E3 I recommend you watch this excellent demo video of how to use the two
and tone controls to get the most out of the amp before you do one of these mods. These modifications completely se
volume and tone controls between the Bright and Normal Channels.

Simple Volume Interaction Mod

With this simple mod the Normal Channel looses its tone control altogether but remember you can control the tone with y
tone control. The Bright Channel's tone circuit is unchanged except for its interaction with the Normal Channel is remove

With this mod you remove both wires connected to the Normal Volume pot's pins 2 and 3. We'll switch the pot's input and
improve V1A's load impedance. Install two 220k ohm 1/4 watt mixing resistors on both volume pots' output pins. You hav
option of leaving the Bright volume pot alone or you can swap its input and output also for optimal impedance loading as
the layout diagram below. It isn't as critical to swap Bright's input because the Tone pot adds load impedance for the Brig
channel's V1B. Connect the resistors from each volume control pots' output pins to the solder pad that connects to tube V
The mixing resistors prevent volume interaction between the two channels.

Swap the volume pots' input and output and install 220k ohm 1/4 watt mixing resistors. This layout shows the Bright vol
its input and output swapped but its OK to not swap them.

Eliminate Volume Interaction With a Dual Gang Tone Pot

This mod is a little more complicated but both channels will have a tone pot as you replace the original tone pot wit
gang 1M log (audio taper) tone pot so each channel has its own tone control (but one knob controls both tone pots). Ano
option is a dual concentric 1M audio pot which has a split knob and allows different tone settings for each channel. You c
use different value tone capacitors on each channel to fine tune.

The layout below shows both volume pots with their inputs and outputs swapped for optimum impedance loading for V1A
but this isn't absolutely necessary because the tone pots add impedance to both channels.

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Tone pot is replaced with dual gang 1M audio (log) pot. Mixing resistors on the volume outputs are used to keep the two
from interacting.

Balance the Phase Inverter

The standard 5E3 Phase Inverter is slightly imbalanced due to where the cathode output was tapped. The plate resistor i
the cathode has a 56k and 1.5k resistors which bring its load to 57.5k. This imbalance will push one power tube more tha
other and create more 2nd order harmonic distortion (which can be a good thing for the overdrive tone). Moving the catho
output tap will balance the loads to 56k at the plate and cathode which can give the amp more actual output, increase he
and clean up the overdrive tone a little. The results are subjective, some like it and some don't. The modern VHT 12/20 a
the phase inverter the same way as the 5E3 so this mod is probably not worth pursuing. When building a 5E3 it's a good
measure and match the phase inverter's two 56k resistors because carbon comp resistors can easily be 20% off their ma
value. The more the two 56k load resistors differ the more distortion they will cause.

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Coupling capacitor (shown green) lower connection point moved to tap the Phase Inverter cathode output to the junctio
1.5k and 56k cathode resistors.

How to Lacquer a Tweed Cab

by Cab Maker Extraordinaire John Mergili of www.mergili.com

Go to Ace Hardware, Lowes, Home Depot, Wal-Mart...anywhere that has MINWAX Polyshades Honeypine. Get the regu
the glossy.

Get a 3" paint brush.

Get four wood screws at least 1" tall.

Screw the screws in the cabinet bottom where you would put the feet.

Turn cab upside-down and brush a light coat on the tweed, then do the sides. When brushing, make sure to keep globs/p
lacquer away from the tweed seams. Because the seams will act like a wick, and suck in the lacquer, giving a dark blotch
brush very carefully. If you go too thick, it will make a black/grey blotch in the tweed.

Now, turn the cab upside-up and lacquer the top and sides. Countinuously check for brush strokes, runs and drips. You c
lacquer the inside bare wood.

Let each coat dry overnight.

Repeat this at least 3 times depending on how thickly you want to seal the tweed. I like it thick as glass.

Now, before your last coat, get a fine grade sanding sponge, and with light/medium pressure, sand the whole cabinet. Ge
rag a wipe off all the lacquer dust.

Now take a block of wood or small hammer and tap all the corners down to get any tweed threads and burs smooth.

Do your final coat as normal.

Let dry.

Admire your work.

Oh yeah, do the back panels the same way. But don't put any screw holes in them till your done lacquering.

-----------------------

Many people use a 50/50 mix of MINWAX Clear and Honey Pine for a lighter tone.

If you are interested in using old fashioned shellac take a look at Marsh Amps shellacing technique.

Other 5E3 Modifications to Consider

Make the 5E3 more humbucker friendly by changing the Bright Channel's cathode circuit to a 2.2KΩ resistor & .68µF b
capacitor. Run humbucker & hot pickup guitars through the Bright Channel. Try the Bright Channel's Low input jack to he
really hot pickups.

Use a larger power tube cathode resistor, 270 to 330Ω 10watts (250Ω 5w is standard) to compensate for higher wall v
and cool the power tube bias. I highly recommend you or your tech measure and calculate the power tube bias before ma
change. Fender tended to bias their cathode bias amps around 95% of maximum idle dissipation and you shouldn't exce

Add 470Ω to 1.5k 3 watt screen resistors to protect the power tubes from excessive screen current. Most amplifiers ha
resistors installed for this purpose. These resistors have the added benefit of increasing power tube distortion caused by
screen current. You can use a small terminal strip to anchor the resistors and solder them directly to the V3 & V4 pins 4 a
below. See Tube Guitar Amplifier Overdrive for more info on how they affect the amp's tone.

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Screen Resistors Added to Power Tubes

Increase the power tube grid stopper resistors from 1.5kΩ to 5.6k to eliminate 'gain spike' and blocking distortion. Th
affect the tone or audible frequency response of the amp. 1.5k and 5.6k seem popular with modern amp designers.

Replace the 4.7KΩ dropping resistor between the first and second filter capacitors with a 5 to 12 Henry choke and add
1.5k 3 watt screen resistors shown above. This mod reduces noise but realize it can really change the 5E3's character by
tightening it up and giving it a more modern punchy tone. Most people that have tried this mod have removed it for that r

Use a larger first filter capacitor, up to 33µF is ok even with a 5Y3GT rectifier tube. This will reduce hum and beef up t
end and help prevent 'farting out.' It will also reduce power supply sag and make the amp a little more punchy.

Lower all the coupling cap values from .1µF (100nF) to .022 to reduce bass which will reduce the 'farty' lows and mak
amp more agreeable with high output guitar pickups and effects pedals. The famous AB763 blackface circuit used .022u
Vibrato Channel and .047uF for the Normal Channel. You can also do this only on one channel and then run humbucker
that channel. Doing this also will reduce blocking distortion.

Fender guitar amp fuses are MDL type "slow blow" or "time delay" 1/4 inch (6mm) wide by 1 1/4 inch (30mm) long.

Replace all the signal resistors (especially input, plate load, grid leak and grid stopper resistors) with metal film
like the Vishay RN65 for less noise (hiss). Most 5E3 kits use period correct carbon composition resistors but metal film r
generate 1/10th the noise of carbon comp. In reality resistor hiss is usually drowned out by filament heater hum and pow
ripple so this won't be a dramatic improvement but every little bit helps with noise suppression. If you want to be thorough
replace every resistor except these three: the higher watt rated voltage dropping resistors (between the first filter caps) a
power tube cathode resistor. R.G. Keen recommends metal film for all signal resistors except for the 5E3's 56k plate load
tail resistors of the V2B phase inverter. Those two 1/2 watt carbon composition resistors would ensure "vintage" carbon c
without generating excess noise.

Building a 5E3 amp head? Consider a hybrid head/combo with the addition of a little 6" Eminence 620H hemp coned s
your head amp. The 620H is an inexpensive but great sounding speaker that punches above its weight. It requires no ad
cabinet size and it adds very little weight. You'll always be able to practice with it and people freak out when a meaty tone
emanates from a "speakerless head amp."

Stealth Eminence 6" 620H 20 watt Hemp Coned Practice Speaker

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This is a very cool little $55 speaker. It adds very little weight to the head cab. It's mounted on the preamp side to cle
transformers. The custom lacquered tweed cab with baffle was made by John Mergili of www.mergili.com and cost on
delivered.

Wish your tweed amp had reverb and tremolo like the blackface amps? This is a great way to add it, with my favorite ped
time, the Strymon Flint. It does everything from adding a little warmth and thickness to full up 60's surf. The "Color" cont
very usable tone knob. The '61 harmonic tremolo setting is a really nice bonus that sounds very much like the very comp
harmonic tremolo circuit. Try this surf setting and you'll have a blast:

Surf City

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This Strymon Flint + 5E3 = surf heaven. Use the above knob and switch settings for a wonderfully authentic sur
Switches are set for '63 tube tremolo and '60's reverb. Here's an excellent youtube demo by 60Hz Hum.

Heater Artificial Center Tap

Install a 6.3v filament heater artificial center tap (sometimes called "artificial ground"). If your 5E3 power transform
come with a 6.3v heater center tap then you should add an 'artificial center tap' to reduce 60Hz heater hum. It does this b
balancing the voltage between the two heater wires. When each wire carries an equal AC voltage 60Hz hum will be canc
by twisting the heater wires. Unbalanced voltage will allow some hum to leak out. If your power transformer has a 6.3v
tap then I recommend you use that instead of this 'artificial center tap,' but do not try to use both real and artifici
taps together.

You simply connect both 6.3v green heater wires to ground through two 100ohm 1/2 watt resistors. I like to place the resi
one of the power tube's socket as shown below.

Filament Heater Artificial Center Tap

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Filament heater artificial center tap consists of two 100 ohm 1/2 watt resistors connected between either one of the pow
socket's pins 2 and 7 (heater wires) and pin 8 (cathode). This works in both cathode bias amps (elevates the heater gro
fixed bias amps (grounded cathode). Do this only on one power tube. These resistors are not required if your power tra
has a 6.3v center tap.

Humdinger Adjustable Heater Artificial Ground

The Humdinger is an adjustable heater artificial ground. A 100 or 250 ohm, 1 watt or greater linear pot is used to adjust t
resistance value between ground reference and the two heater wires to even out their voltage and minimize 60Hz heater
You simply adjust the pot by ear for least hum. If you don't notice a change in hum when adjusting the Humdinger the
it in the middle of the pot travel to equalize the resistance for each heater wire. Remove your current 6.3v center tap befo
installing a Humdinger.

You can connect the Humdinger to the heater wires anywhere along the heater wire chain. You can use the pilot light or t
any one of the tube's heater terminals.

For cathode biased amps you can connect the Humdinger's ground wire to a power tube socket cathode pin (pin 8) or to
side of the cathode resistor (as shown in the next section) to elevate the heater reference voltage. A voltage elevated
Humdinger can eliminate more heater hum than any other type of heater real or artificial center tap.

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250 ohm linear pot is used to balance the voltage on the two heater wires for minimum hum. A 100 ohm linear pot will w
too. The pot needs to be rated at 1 watt or higher. This 100 ohm, 5 watt pot is perfect as a humdinger. Instead of conne
center terminal to ground as shown, connecting it to a cathode biased amp's cathode resistor will elevate the center t
reduce hum.

Elevate 6.3v Heater Center Tap

If your power transformer has a 6.3v center tap, instead of grounding it to the chassis you can elevate the heater circuit g
reference voltage by connecting the 6.3v center tap to the tube side of the power tube cathode resistor. This elevates the
ground reference by the voltage on the cathode which is around 17 volts in the 5E3. The elevated heater ground reduces
voltage difference between the heater filaments and the tube cathodes which helps minimize 60Hz heater hum.

Power transformer 6.3v center tap (shown in magenta) is connected to the hot side of the power tube cathode resis

LED Pilot Light

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This simple circuit powers an LED from the 6.3v heater wires.

Just use any 1N4001 to 1N4007 diode, an LED and a 240 to 1000 ohm 1/2 watt (or higher watt rating) resistor connecte
the heater wires. Note the LED and diode are lined up with their cathodes opposite one another. The diode has a strip
cathode end, the LED's flat side and/or shorter wire lead is the cathode so wire the LED's short wire to the diode's no
end. 6.7VAC is used due to higher than spec mains voltage.

The diode limits the LED's reverse voltage to 1.7v. The resistor drops excess voltage. The voltage drop of typical LEDs ru
about 1.8v to 3.3v and varies by the color of the LED. A typical red LED drops about 1.8 volts and rises as the light frequ
increases. Blue LEDs drop around 3.3 volts. You can reduce the value of the resistor to brighten the LED if it appears dim
higher resistor value will dim the LED.

Here's how to calculate the exact values needed for your particular LED:

Find your LED's voltage and current requirements. 3.3v and 25ma is typical.

We start with converting the heater voltage in rms to peak voltage. Your volt meter gives rms. Typical real world he
voltage is around 6.7 AC volts RMS * 1.414 = 9.5 volts peak.

Calculate excess voltage: 9.5 volts - the LED voltage drop of 3.3v = 6.2v

Calculate resistor value needed to drop excess voltage: excess voltage / led current = 6.2v / .025 amps = 248 ohm
(240 ohm is closest standard value)

Calculate resistor watt value: (LED current)^2 * 240 ohms = .025 * .025 * 240 = .15 watts so a 1/2 watt resistor will h
some breathing space.

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This LED would probably light up nicely with any resistor value between 240 to 1000 ohms.

Optimized 5E3 Layout

This is my take on the best possible layout for a standard 5E3 chassis. This is a basic 5E3 circuit, there are no mod
that will affect the tone. I have deleted the totally unnecessary Standby Switch and Ground Switch/Death Cap.

Gray resistors are metal oxide, brown resistors are carbon film and the V2A plate load resistor is carbon composition fo
Click on the layout to see the full size image. The .diy file is here and the pdf is here.

You can upload this DIYLC Hoffman Board file to Hoffman Amps and he can make a turret or eyelet board.

Shielded cable is used to connect the grid stoppers directly (across the chassis) to V1. The cable shield is ground
input jack ground tab. The V1 end of the cable is not grounded to prevent a ground loop. A nice, clean option is to use sh
microphone cable which has four conductors and run both input wires through one microphone cable. Shielded cable isn
necessity in the 5E3 but if you use standard wire I recommend you run it along the chassis floor and below the circuit boa
allow the chassis act as a noise shield.

Separate eyelets are provided for the preamp tube cathode resistors and bypass caps to make mods easier. The
cap is moved to supply V1 directly. The V2A coupling cap is reoriented to reduce cable runs. Wire routing is optimized fo
runs, 90 degree wire crossings and maximum separation between grid and plate wires.

The choice of resistor is up to you but I recommend 1 watt carbon film for the signal path. Carbon film resistors gene
less resistor hiss compared to carbon composition resistors but I did use a carbon comp (1 watt preferred) resistor on the
load resistor before the negative feedback loop for a little carbon comp mojo. The power resistors are shown above in gra
are metal oxide resistors. A 10 watt 250 ohm cermet resistor is used for the power tube cathode for longevity and compa
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with 6L6 power tubes. The power tube cathode bypass cap is upgraded from 25v to 50v for component longevity. The pla
resistors are bumped up to 2 watts for less hiss and longevity and the voltage dropping resistors are upgraded to 3 and 5
metal oxide also for longevity.

I employed a unified ground bus that is only grounded at the Normal Low input jack. The power transformer high voltag
tap is connected directly to the B+1 filter capacitor negative terminal to minimize hum. The typical split-bus ground sends
preamp return current through the chassis. This ground scheme doesn't flow any current through the chassis which any e
engineer will tell you is a good thing.

The 6.3v center tap is connected to the tube side of the power tube cathode resistor to elevate the reference volt
reduce hum. If you want to use an artificial 6.3v center tap then I recommend putting the two 100 ohm 1/2 watt resistors
V3 power tube socket like this.

I also shortened up the component span to keep from stretching the small component leads so much.

I added optional 3 watt carbon film power tube screen resistors to the circuit board. They are shown on the circuit
between the power tube cathode resistor and the B+2 filter cap. I add them to all my 5E3 builds because they help protec
tubes during heavy overdrive and they sweeten the power tube distortion. If you choose to use them then do not use the
that runs from the B+2 cap to the power tube pins 4, use the wires from the top of the screen resistors to pins 4 instead.

Do not twist output transformer primary or secondary wires. Doing so can cut hurt high frequency response.

Optimized 5E3

Amplifier build and photo by Derryck Wilson.

Quote From builder Derryck Wilson: I got a little bored so I built a Deluxe based on your optimized layout and I gotta s
unbelievably quiet!! I’ve built over 20 5E3s and this is by the far the quietest of all, and from I’ve heard so far sounds jus
Only tone mod is the NFB mod, but I’m thinking a Master Volume in the standby hole might be doable with this lay

5E3 Point-to-Point Layout

This point-to-point (PTP or P2P) layout is intended for a blank Hammond style chassis or a "cake pan" build. You've got t
everything pretty close together to make PTP work. Keep in mind you can build in "3D" with point-to-point and elevate so
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components up, over the top to avoid component crowding.

If you want to build your 5E3 Deluxe Old, Old School. Point-to-point wiring minimizes wires by using components to
connections when possible. Click on the layout to see the very large, full size layout. Components are anchored to the
with terminal tag strips.

For more info see the 5E3 Point-to-Point page.

RobRob Deluxe Amplifier

Take a look at this 5E3 Deluxe with many of my favorite modifications incorporated:

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See the RobRob Deluxe page for more info.

Single vs. Split Ground Bus

The split ground bus with a separate power amp and preamp ground bus is the current standard that DIY amp builders u
what I show in the 5E3 layout at the top of this webpage but most electrical engineers will tell you a single point groundin
should be the quietest. The original 5E3 used a brass plate under the input jacks and pots that acted as the whole amp's
bus but corrosion between the steel chassis and brass plate can cause problems in the long term.

Here's a single ground bus scheme that theoretically should be superior and keep the EE's happy:

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The only chassis ground point is the guitar input jack at upper right so be sure and use a star washer on that jack for
electrical connection between jack and chassis. The power transformer's high voltage center tap is connected to the left
amp ground bus. Arrows show the flow of ground current through the ground bus back to the power transformer. All DC
must return to the power transformer through the center tap. The 6.3v heater center tap is connected to the upper righ
transformer bolt. The 6.3v center tap acts only as the heater voltage ground reference and does not function as a curren
The speaker jacks are grounded to the chassis for a hum reducing ground reference--this ground connection does not fu
a current return.

If you try the single ground bus and then want to try a split bus you can convert the single ground bus to split by simply c
bus wire between the second and third filter caps and then run a wire from the left side (power amp) ground bus to a pow
transformer chassis bolt.

VHT Standard 12 With True Star Ground Bus

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The VHT Standard 12 is a modified 5E3. Star ground point is center left. Ground wires shown in green. Note the input j
ground connection at capacitor C15 (upper far right). Input jacks are isolated Cliff jacks. Speaker jacks are not isola

Typical 5E3 DC Voltages

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Note: The V2 pin 7 voltage will be around 3 volts if you use an inexpensive volt meter that has 1M of impedance. If you m
volts on pin 7 and pin 6 and 8 match the voltages shown above then you're OK.

Typical 5E3 B+ Idle Currents

V1A 1.1ma

V1B 1.1ma

V2A .83ma

V2B .84ma

V3 39ma (includes 1ma of screen current)

V4 39ma (includes 1ma of screen current)

Total: 81.9ma

Speaker Suggestions
Since the 5E3 puts out around 12 watts of power a speaker rated for 20 watts is adequate. It seems the most popular 5E
is the 20 watt Weber 12A125A which is a Fender tweed vintage style 12" AlNiCo (Aluminum, Nickel and Cobalt magnet)
with a 1.25 inch voice coil for a very reasonable $113. It gets great reviews and gives probably the most authentic 50's D
tweed tone. I installed one in an extension cab and it really does sound like a tweed Deluxe should.

If $113 is too rich for your blood check out the Weber Signature AlNiCo 12 and 12S speakers at $58. Some people actua
them over the 12A125A. The Signature speakers are also reported as being less efficient than the 12A125A so they won
as loud. The Weber 12A150 (larger 1.5 inch voice coil) and 12A125S (1.25 inch voice coil but with slightly different voicin
also popular for the 5E3. If you do go with Weber I recommend you have them do their free speaker break-in service for
they will sound great right out of the box.

The $60 20 watt WGS G12Q also gets rave reviews in the 5E3.

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Other favored 5E3 speakers are the Eminence Patriot Cannabis Rex (ceramic magnet) $90 and Tone Tubby Alnicos, all w
cannabis cones. The Eminence Canis Major is the AlNiCo version of the Rex but it's relatively expensive at $190. The vin
British voiced Eminence Red Fang AlNiCo is also well liked and very loud with a sensitivity of 102.5dB but expensive at $

The new $2400 Fender Edge 5E3 Deluxe comes with an expensive Celestion Blue AlNiCo that is normally considered a
speaker.

I went a different route and installed a 15" JBL E130 re-coned with hemp by A. Brown Speaker Repair. It's a very accurat
efficient and loud speaker which makes it ideal for gigging. The hemp cone tames the brittleness of the standard E130 an
sounds freakin' great. The downsides are I get no speaker breakup and the amp is freakin' heavy.

15 Inch Hemp Reconed JBL E130

Note the cool green tint of the big 15 inch hemp cone. The speaker is very efficient (and loud) at 105dB SPL and is rate
watts. This amp can keep up with any drummer. Carl's Custom Guitar's Speaker Soak attenuator installed at upper righ
less-than-ear-splitting practice. The cab is a 5E3 combo but it's vented so it can also be used as a sealed back extension
can't seal the back and run the 5E3 due to heat buildup).

Using a Bucking Transformer to Lower Your B+ Voltage

Back in the 1950's and 60's the US wall voltage was around 110 volts. Today it can be higher than 125volts. An amplifier'
transformer is stepping up the wall voltage by a factor of three or more so those extra 15 volts at the wall can be 45 volts
B+ which can affect the amp's tone (typically makes it louder and punchier). I built a simple and inexpensive bucking tran
to reduce wall voltage to a more vintage level.

My BuckMinister Bucking Transformer offers three voltage levels for your amp: full wall power in one socket and a choice
-12% voltage on the other socket. The mini-toggle SPDT ON/ON switch selects between -7% or -12% voltage reduction t
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your amp's voltages to vintage levels. The photos show a single power socket with a switch but a standard wall power ou
be used so you will have three voltages available.

A good way to zero in on what voltage your amp should be at is to measure the heater circuits' AC voltage. They should
AC for the yellow rectifier tube heater wires and 6.3v AC for the green tube filament heaters. Measure these voltages fro
to-wire, i.e. put one voltage probe on one green wire and the other probe on the other green wire. If you measure one wir
ground you will get 1/2 of the true voltage. Use the bucking transformer switch position that gets these two voltages close
spec and this should give you the 'intended output voltage' of your power transformer.

The Completed Buckminister Bucking Transformer

Note the fuse and toggle switch on the right side. The switch on the socket turns the socket on and off. The light on the
indicates it is powered. I recommend using a normal two socket outlet so you will have full wall voltage on one socket an
-12% on the other socket.

The fuse holder is standard Fender and houses a 125v 4A (or 250v 4A) fuse. The transformer is a Hammond 166N12B (
amp) tube filament transformer ($23 from Mouser.com).

Testing Before Final Assembly

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Photo shows a 166N6 6.3v transformer. I tried this transformer but got only -3.7% and -7% voltage reduction so I swapp
for a Hammond 166N12B 12v 4 amp transformer and got -7% and -12% voltage reduction.

The blue box is a triple bay deep plastic electric switch box ($4 from Lowes). The switch/single-socket is a Cooper Wiring
TR274W ($9 from Lowes) with a built-in power light, switch and socket. If you use this switch be sure and use the right
instructions. They're at the bottom right of the front page of instructions titled, "Single Pole Switch and Grounding Recept
use configuration #3. "Remove Break-Off Tab. Receptacle controlled by switch. Connect jumper wire as shown. Pilot ligh
when switch is on." You have to run a jumper wire from the socket side black screw to the brass screw. Other black screw
silver screw is Neutral, green screw is ground.

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Upper socket has full wall voltage. Lower socket is selectable with the toggle switch for -7% or -12% voltage reduc

I didn't use a tag strip since the box was plastic and didn't need to be grounded. If you use a metal chassis you must grou
chassis to the power cord's ground wire so a tag strip makes that easy. I ran the ground and neutral wires directly from th
cord to the output socket. The power cord's narrow prong black 'hot' wire is connected directly to the fuse.

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In the U.S.A. 3-prong power cords have a narrow, wide and round prong. The 'Hot' (power) wire of the power cord conne
narrow blade prong. The 'Neutral' (power return) wire is connected to the wide blade prong. The safety ground wire is co
to the round or 'D' shaped prong.

You must remove the power outlet's metal tab that connects the two 'hot' terminal screws (narrow blade sockets are hot).
remove the 'neutral' metal tabs because you want them to stay connected. Separating the two hot screw terminals will al
run two different voltages on the two sockets.

Your transformer must have a secondary center tap to use it as a bucking transformer. On the transformer one bla
one green wire must be connected to the fuse. If you choose wires that are diagonal from one another (back right and fro
you will get a step-down voltage. If you use a black and green from the same end of the transformer you'll get a step-up
transformer.

If you end up with higher voltage than wall power simply swap the two green secondary wires and you'll get a lo
wall voltage output.

I first tried using a Hammond 6.3 volt 166N6 transformer. With a wall voltage of 121.25 my B+ was 430. With the bucking
transformer in the Low position my B+ was reduced to 414v for an actual reduction of 3.7% (output socket was at 116.9v
Lower position my B+ was 399 for a reduction of 7% (socket at 112.9v).

Since the voltage reduction with the 166N6 transformer was less than I expected I changed it out for a Hammond
4 amp 166N12B ($23). With this transformer and wall voltage of 120.0 volts I got 112v (-7%) and 106v (-12%).

I did flip the switch between the two voltages with an amp plugged in and running and it didn't cause any drama or pops.

BuckMinister Bucking Transformer Schematic

The indicator light is optional, the fuse isn't. Upper outlet socket is full wall voltage. The lower socket is selectable betw
and -12% voltage.

You can download the Buckminister Layout and Schematic DIYLC (DIY Layout Creator) files.

Here's an even simpler design of a bucking transformer. There's no switch and each socket puts out a different r
voltage:

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Most electrical sockets have thin metal 'Parallel Link Tabs' that connect the two sockets to one another. You must remov
off the tab that connects the two 'Hot' (narrow prong) screw terminals. You can use a flat blade screwdriver or pliers to b
parallel tab back-and-forth until it breaks off.

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The power outlet's Hot link tab between the Hot screw terminals must be broken off so you can supply different voltages
Hot terminals.

Inexpensive Line Conditioner for Clean Constant Voltage

This $99 Tripp Lite LC1200 available from Walmart will protect your amp from power-related damage and cut line noise.
transformer-based voltage correction circuits that maintain 120V output during voltage fluctuations between 89 and 147 v
also has advanced Isobar surge and noise suppression circuitry to reduce noise and hum--this is what separates it from t
APC LE1200 voltage regulator which I also use. Their rating of 1200VA is enough for a 100 watt tube amp.

Build a Light Bulb Current Limiter

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An amplifier light bulb current limiter is useful for starting up a newly built amplifier and can keep you from blowing fuse a
as you troubleshoot a problem amp. It can also help prevent wiring mistakes from causing component damage in the am

It can be used on all kinds of electronics but heavy current users such as electric motors will be affected by the low curre
the light bulb. A 150 watt incandescent light bulb will only allow about 1.25 amps of max current (150w / 120v = 1.25a) to
through the amp. Most amp's main fuses are 2 amps or greater so you shouldn't blow a fuse even with a full on amplifier
circuit. If your equipment needs more power move up to a higher wattage light bulb, a 300w bulb is good for about 2.5 am

You can also use a dual bulb adapter that has two bulb sockets so you can use two bulbs to double the amperage availa
with bigger amplifiers.

Keep in mind that this limiter will drop the AC voltage supply to your amp so don't be surprised by the low B+ voltages an
play the amp it will sound weak and different.

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See my Light Bulb Limiter Youtube video to see how it should light up when a working amp is turned on.

The limiter pulls all the amp's power through the light bulb filament so the more the amp pulls the brighter the b
the amplifier turned off the bulb will not be lit.

On a normal amp turn-on using a 150w light bulb it will only make the bulb's filament glow a bright red for a few seconds
dim as the amp is turned on. The bulb will go bright again when the Standby Switch is turned on and the amp's capacitor
charged, then dim as the amp's power stabilizes. If the amplifier has a problem (like a short to ground) the light bulb
glow brighter than normal. If the amp has a short circuit the light bulb will stay lit at its normal, full brightness.

Building the Light Bulb Current Limiter

Everything you need to build a light bulb limiter is available from Home Depot or Lowes:

Electrical power box ($3), 3-prong power cord ($5), duplex electrical outlet ($2), outlet face plate ($1), 100W to 150 watt
incandescent light bulb (no fluorescent or LED) and socket adapter ($3), and power cord strain relief bushing ($1).

Start the build with breaking off the electrical outlet's two metal 'Parallel Power Link Tabs' that connect the two sockets in
The are located between the two sets of screw terminals. Since we want to run the power in series between the two plug
receptacles we need to separate the two screw terminals on both sides of the receptacle by removing the tabs.

Run a jumper wire diagonally from one terminal screw on one side of the socket to the other side's screw terminal (as sh
below). Install the conduit strain relief bushing on the box and push the power cord through. Connect the power cord's bla
wire to an open screw terminal--this side of the outlet is where you should insert the light bulb. Connected this way powe
through the black hot wire, through the light bulb then to the amplifier so if the light bulb blows then the amplifier will be
disconnected from the hot supply wire.

Connect the power cord's white (neutral) wire to the remaining open screw terminal which should be on the amplifier side
outlet. Mark or label the sockets so you know where to plug in the amp and bulb.

Attach the power cord's green (ground) wire to the metal electrical box and power outlet green ground screw. If a plastic
box is used then the box does not need to be grounded but the outlet ground must be connected to the power cord groun
the outlet to the electrical box and install the outlet faceplate.
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Plug light bulb with 'light bulb to socket adapter' into its socket and plug the amplifier into the other socket. Power flows
through the light bulb filament and then to the amplifier. During normal amplifier startup a 150 watt light bulb's filament
bright red as the amp's capacitors are charged, then dim as the amp's power stabilizes. If the amplifier has a short circui
bulb will light up to its rated brightness.

Duplex Outlet Light Bulb Socket Adapter Power Cord Strain Relief

Wired Limiter

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Note black diagonal jumper wire running across the back of the outlet. Power cord black and white wires go to the oth
terminal screws and the green wire goes to the outlet ground screw. Run a ground jumper wire from the outlet ground sc
metal box ground screw (not shown above). Cord strain relief bushing (on left side of metal box) shouldn't be tightene
assembly is complete.

See a short youtube video of the light bulb limiter in action. In the video I use a 75 watt bulb but a higher watt 100 or 150
will more clearly show when a short is happening because a normal amp will only make the bulb filament glow red but a s
circuit will light it up to its full brightness. Try the limiter with a known healthy amp so you'll know how the bulb should look
startup.

Remember, all amplifier voltages will be abnormally low when it's connected to a light bulb limiter. Remove the lim
measure your amp's voltages.

Create an Amplifier Tube Chart

This is a reproduction of a standard tweed era tube chart that Fender glued to the inside of their amps:

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Click the image to download the editable 5E3_Tube_Chart.doc

Here's a good "glue paper to wood" how to.

The Original Fender Deluxe 5E3

This is a beautifully simple and elegant design. Can it be improved upon? Leo Fender thought so when he created th
generation Deluxe, the 'brown face" (see below). He upgraded the first preamp tube, separated the volume controls, cha
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phase inverter to a long tail pair (LTP), switched to fixed bias power tubes, added a 16uF filter cap to stiffen the power
added tube bias tremolo and increased voltage with a GZ34 rectifier tube.

The Follow-On 6G3 "brown face" Deluxe

This is the next version of the Deluxe following the iconic 5E3. The 7025 preamp tube is just a high quality 12AX7. Toda
12AX7 is used in its place. For more info on all the other Fender Deluxe amps see the Deluxe Models page.

Have comments or corrections? Email rob at:

By Rob Robinette

References
RCA Corporation, RCA Receiving Tube Manual, RC30.

RCA Receiving
Tube Manual
$17.95

Shop now

Merlin Blencowe, Designing Tube Preamps for Guitar and Bass, 2nd Edition.

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Designing Tube
Preamps for...
$39.00

Shop now

Merlin Blencowe, Designing High-Fidelity Tube Preamps

Designing High-
Fidelity Valve...
$39.66

Shop now

Morgan Jones, Valve Amplifiers, 4th Edition.

Valve Amplifiers

$71.27

Shop now

Richard Kuehnel, Circuit Analysis of a Legendary Tube Amplifier: The Fender Bassman 5F6-A, 3rd Edition.

Circuit Analysis
of a Legendary...
$101.00

Shop now

Richard Kuehnel, Vacuum Tube Circuit Design: Guitar Amplifier Preamps, 2nd Edition.

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7/11/22, 8:02 PM 5E3 Mods

Vacuum Tube
Circuit Design:...
$499.50

Shop now

Richard Kuehnel, Vacuum Tube Circuit Design: Guitar Amplifier Power Amps

Vacuum Tube
Circuit Design:...
$139.54

Shop now

Robert C. Megantz, Design and Construction of Tube Guitar Amplifiers

Design and
Construction of...
$29.95

Shop now

Neumann & Irving, Guitar Amplifier Overdrive, A Visual Tour It's fairly technical but it's the only book written specifically a
guitar amplifier overdrive. It includes many graphs to help make the material easier to understand.

Guitar Amplifier
Overdrive
$38.00

Shop now

T.E. Rutt, Vacuum Tube Triode Nonlinearity as Part of The Electric Guitar Sound

[ How the 5E3 Deluxe Works ] [ Deluxe Models ] [ DRRI & 68 CDR Mods ] [ Amp Troubleshooting ] [ My 5E3 Build ] [
Analysis ] [ The Trainwreck Pages ] [ Fender Input Jacks ] [ B9A Prototype Boards ]

[ Home ] [ Up ] [ How Amps Work ] [ How Tubes Work ] [ Safety ] [ Amp Voicing ] [ Overdrive ] [ Amp Mods ] [ 5E3 Mods ]
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