![]() Notwithstanding, ultimate circuit topology can bring out more second harmonic characteristics than usual with any tube design. Thusly, earlier tube designs were lower distortion on purpose especially for their critical role in modulation based communication systems that had more stringent requirements than the average 1950s guitar amplifier tube. It might have been considered heresy to reduce the gain through feedback (and reduce distortion) in earlier tube designs since minimal gain was still extremely expensive prior to the 1950s. While feedback reduces distortion, it also lowers overall amplifier gain. With the advent of feedback, tube amplifiers could be mass produced with these less expensive 12A*7 style tubes using more feedback to reduce distortion. The 12A*7 varieties were incarnated due to commercial needs such that they were “better, cheaper, lighter” at the expense of embodying more distortion. The 6SN7 is still in production after over 80 years, for good reason.ĦSN7 vacuum tubes of the 1940s vintage were chosen for this amplifier due to their lower distortion capabilities that exceed that of the standard and ubiquitous 12A*7 variety. This was the birth of the true common ancestor of all modern double triodes used in high fidelity amplifiers. ![]() ![]() In 1939, just a few weeks after the start of WWII in Europe, RCA Radiotron introduced the 6SN7 octal (8-pin) double triode tube to the American market. ![]()
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