Tone King Falcon Grande User manual

Tone King
Tone King Tone King
Tone King
Falcon Grande'
Falcon Grande'Falcon Grande'
Falcon Grande'
User’s Manual
User’s ManualUser’s Manual
User’s Manual
1.0 8/21/2015
Tone King Amplifiers
A division of Premier Builders Guild LLC
www.toneking.com
[e-mail]

1
Design Notes from the Builder
Design Notes from the BuilderDesign Notes from the Builder
Design Notes from the Builder
Thank you for choosing the Falcon Grande. My initial idea for the Grande was to
simply address certain requests by Falcon owners - specifically, a 1 " speaker,
footswitchable voicings, and reverb. Although I started with these simple goals, the
design process led to a number of new developments, resulting in complete redesign of
the circuitry and cabinetry. To this end, the Grande is a genuine new design, sharing
very little with the Falcon model, aside from it's basic shape and some of its' features.
One interesting development is a proprietary
variation of the ultralinear output stage which solves
some of the inherent problems of the ultralinear
circuit. The new design delivers the same full-
bodied sound, thick mids, and sweet top end, but
with perfectly controlled compression, and very low
hum. No matter how hard you push this output
stage, it will not become too compressed - just more
harmonically rich.
Another new feature I developed specifically for this
model is the acoustic lens built into the speaker
cabinet. This device eliminates high frequency
beaming (the "icepick effect" - whereby the high
frequencies become excessively exaggerated and harsh at certain listening positions).
The advantage of this new design is that it eliminates beaming without muddying the
sound or slurring the attack, as standard beam blockers and foam doughnuts do. It
gives you a lively, present sound without harsh beaming, anywhere in the room.
The last development I'll mention is the new
reverb circuit. I had been using essentially the
same reverb circuit for all Tone King amps up
to this point, and thought that this new model
warranted something special. I developed a
new knob circuit that is more flexible than
the older circuit, in that allows a wide range of
dwell settings, from a subtle shimmer to a
splashy surf sound. In addition, I developed a
new receiver circuit which is extremely
transparent and capable of extracting more
detail and overtones from the reverb pan than
the old design, but it also has the warmth,
depth, and organic qualities to make it a
perfect match for a vintage style amp like the Grande.
In the end, I think the Falcon Grande turned out to be
a terrific new model, packed with innovation and new
developments that make it really fun to play, with a
wide range of fantastic tones that sound great in any
room or environment. I hope you enjoy playing it as
much as I do.
Mark Bartel
Tone King Amplifiers
a division of Premier Builders Guild LLC

2
Safety Instructions
Safety Instructions Safety Instructions
Safety Instructions
1. Please read these instructions, and keep them for reference.
. Please follow all instructions described here.
3. Do not use this apparatus near water.
4. Clean only with a dry cloth.
5. Do not block any ventilation openings.
6. Do not operate near any heat sources such as radiators or heat registers.
7. Protect the power cord from being walked on or pinched, particularly at the plugs
and at the point where they exit from the apparatus.
8. Only use attachments/accessories specified by the manufacturer.
9. Unplug this apparatus during lightning storms or when unused for long periods of
time.
10. Refer all servicing to qualified service personnel. Servicing is required when the
apparatus has been damaged in any way. For example, if the power supply cord or
plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the
apparatus has been exposed to rain or moisture, does not operate normally, or has
been dropped.
11. CAUTION: To disconnect the unit completely from the MAINS, unplug the unit.
Turning the power switch off does not disconnect the unit completely from the MAINS.

3
Contents
ContentsContents
Contents
1. pecifications 4
2. Front Panel Controls 5
Guitar Inputs 5
Volume and Tone 5
Voicing Selection 6
Reverb Controls 6
3. Back Panel Controls 7
AC Power 7
Fuse 7
Power Switch, Standby Switch 7
Footswitch 7
Speaker Jack 7
Attenuation Control 7
4. Dialing In Your ound 8
Rhythm Voicing 8
Tweed Voicing 9
Lead Voicing 10
5. Ironman/II Attenuator 11
Purpose of the Attenuator 11
Attenuator Control 11
How to Use The Attenuator 1
Technical Details 1
6. Getting a Great ound at Home 13
The Effect of Your Acoustical Environment 13
Floor Reflections 13
Where to Place the Amp 13
Carpeting 13
The Attenuator Can Help 14
7. Tube Installation and Replacement 15
Choice of Tube Types and Brands 15
Alternate Tube Choices 15
Installing Tubes 16
Replacing Output Tubes 16
Tube Quality 16
8. Warranty 17
9. CE Declaration 18

4
1 Specifications
1 Specifications1 Specifications
1 Specifications
Preamplifier
Channels: Single Channel with footswitchable Voicing Control
Tube Complement x 1 AX7
Controls: Volume, Tone, Voicing (Rhythm, Tweed, Lead)
Reverb
Type Full size -spring reverb pan
Controls: Dwell (drive level), Reverb (recovery / mix level)
Footswitch: Footswitch control of reverb (on/off)
Power Amplifier
Output Power 0W R.M.S.
Tube Type x5881, push-pull ( x6L6 may be used)
Biasing Scheme Cathode Biasing
Operating Mode Modified Ultralinear
peaker
Manufacturer 1 " Custom designed speaker made by Eminence
Impedance 8 Ohms
Magnet Type Ceramic, 38oz
Edge Doping Non-Doped
Power Attenuator
Type Ironman II Compensated Power Attenuator
Load Type Tuned Reactive Load
Attenuation Steps: 6 Steps: 0db, -3db, -9db, -15db, - 4db, -36db
Compensation: Fletcher-Munson Volume Compensation Circuitry
Speaker Interface: Damping Factor Correction
Footswitch
Type 4-Button Footswitch with L.E.D. Indicators
Functions: Voicing Selection, Reverb on/off
Dimensions 1.5" W x 19" T x 11" D
Weight 34lbs

5
2 Front P
2 Front P2 Front P
2 Front Panel Controls
anel Controlsanel Controls
anel Controls
Guitar Inputs
Guitar InputsGuitar Inputs
Guitar Inputs
The Falcon Grande has two separate
guitar inputs - HI and LO. The HI
input has more gain, and the LO
input has less gain.
One obvious use of these two inputs
is to compensate for the output level
of your guitar pickups. For example,
you might want to use the LO input
for humbucking pickups, and the HI
input for single coils.
However, there is another, less
obvious effect related to the choice of
HI or LO input. If you switch from
the HI to LO input, the balance of
gain among the preamp stages is
altered, which results in some tonal
changes in addition to the reduction
in gain. Using the LO input will give
you a fatter, thicker midrange, and a
softer, sweeter top end. Using the
HI input will give you more clarity
and detail, and a sharper attack.
You might want to experiment with
both HI and LO inputs at each
Voicing setting to experience the
tonal differences they provide.
Volume and Tone
Volume and Tone Volume and Tone
Volume and Tone
It's quite easy to dial in a great tone with the Falcon Grande, because of the minimal set
of preamp controls. The Volume control determines the gain of the preamp, and thus
the volume level of the amplifier. The Tone control adjusts the balance of high
frequencies to low frequencies, allowing some broad tonal shaping. These two controls
are slightly interactive, meaning that the effect of the Tone control is slightly different at
different Volume control settings. You can think of them as operating in more or less
the same way as the Volume and Tone controls of many classic vintage amps, such as
the tweed deluxe.

6
Voicing Selection
Voicing SelectionVoicing Selection
Voicing Selection
The Voicing switch allows you to select between three very distinct preamp voicings,
and is the key to the Falcon Grande's tonal versatility. As you toggle between voicing
selections, one of three completely separate and distinct tone shaping preamp circuits is
switched into the signal path, to transform the overall character of the tone.
You can select the Voicing in two ways:
1. Front Panel Voicing witch
When the footswitch is disconnected from the amplifier, the front panel Voicing
switch controls the voicing selection.
2. Footswitch
When the footswitch is connected to the amplifier (the footswitch jack is located on
the rear panel), the front panel Voicing switch becomes inactive, and the Voicing
can only be selected by the footswitch.
Reverb Controls
Reverb ControlsReverb Controls
Reverb Controls
The Falcon Grande's reverb circuit is an all-new design that offers more depth, more
flexibility, and an enhanced ability to extract subtle details from the full-size spring
reverb pan which generates the effect. The circuit includes both Dwell and Mix
(Reverb) controls, and the use of each should be understood in order to dial in the best
possible reverb sound.
Dwell Control
Dwell ControlDwell Control
Dwell Control
The Dwell control determines the level of the signal driving the spring reverb pan. In
general, this control can be thought of as controlling the "character" of the reverb
sound. As you turn up the dwell control, a more powerful driving signal is sent to the
reverb pan, which affects the sound of the reverb in several ways:
- at lower Dwell settings, the reverb is darker sounding, and more subtle.
- at higher Dwell settings, the reverb sound is brighter and 'splashier', and you begin to
hear more 'flutter', more overtones, and more of the the unique characteristics of the
spring reverb pan.
Reverb (Mix) Control
Reverb (Mix) ControlReverb (Mix) Control
Reverb (Mix) Control
The Reverb (Mix) control determines the amount of reverb signal from the reverb pan
that is mixed with the dry signal. This is the same function performed by the "Reverb"
knob on most amplifiers that have a single knob reverb circuit (e.g. deluxe reverb). In
general, this control can be thought of as controlling the "amount" of reverb you hear.
NOTE ! Turning both the Dwell and Mix controls up all the way will result in an over-
the-top, surf guitar kind of reverb sound, with a lot of brash overtones and a long
reverb tail. This extreme setting is intended for special purpose uses, where an over-
the-top, out-of-control kind of reverb sound is desired as a special effect. It's not
intended for general use.

7
3 Back Panel Controls
3 Back Panel Controls3 Back Panel Controls
3 Back Panel Controls
AC Power
AC PowerAC Power
AC Power
Always use a grounded AC cord, and make sure that a
proper ground connection is supplied to the amp. Never
attempt to lift or defeat the ground connection to the amp.
Fuse
FuseFuse
Fuse
A standard A slo-blo fuse (style 3AG) should be used.
Power Switch, Standby Switch
Power Switch, Standby SwitchPower Switch, Standby Switch
Power Switch, Standby Switch
When powering up the amp, you should start with both the
Power and Standby switches in the "off" position.
First, turn on the Power switch. This will apply power only
to the tube filaments and the low-voltage circuitry.
After turning on the Power switch, allow the tubes to warm
up for about 1 minute, then turn on the Standby switch.
The power-down sequence is not as important as the
power-up sequence, though I generally prefer to turn off the
power switch while leaving the standby switch in the ON
position.
Footswitch
FootswitchFootswitch
Footswitch
Connect the footswitch to the amp with the supplied cable,
or with any standard 4-prong XLR cable.
When the footswitch is connected to the amp, the Voicing
switch on the front panel will become inactive, so voicing
selection can only be done with the footswitch.
Speaker Jack
Speaker JackSpeaker Jack
Speaker Jack
The Falcon Grande has a single speaker with an impedance of 8 Ohms. The speaker
jack is located on the side of the chassis, and is a standard 1/4" jack. If you wish to
use an extension speaker, it’s best to use an 8-ohm speaker. You can connect it with a
standard ¼” mono speaker cable by pulling out the plug from the internal speaker, and
plugging the cable into the speaker jack.
Attenutation Control
Attenutation ControlAttenutation Control
Attenutation Control
The Attenuation control determines the amount of attenuation applied to the output of
the amplifier in order to reduce the amount of power sent to the speaker, and thus
control the volume of the amp. The use of the attenuator will be described in detail in a
following section.

8
4 Dialing in Your Sound
4 Dialing in Your Sound4 Dialing in Your Sound
4 Dialing in Your Sound
Rhythm Voicing
Rhythm VoicingRhythm Voicing
Rhythm Voicing
The Rhythm voicing is designed to deliver a fatter, warmer version of the classic mid-
60's clean tone, with a smoother, less spiky top end. This is a nice lush clean tone that
retains the sonic characteristics of the amplifiers that inspired it, such as the mid-60s
Deluxe Reverb. Here are a few sample settings you may want to try:
1. 60's Clean Rhythm Tone
2. Extra-Fat Clean Rhythm Tone
3. Pushed Clean
4. urf Reverb
Guitar/
Pickups
Input Volume Tone Reverb D ell
Single Coil HI 4 4 5 5
Humbucker LO 5 6 5 5
Guitar/
Pickups
Input Volume Tone Reverb D ell
Single Coil LO 7 4 5 5
Guitar/
Pickups
Input Volume Tone Reverb D ell
Single Coil HI 6.5 7.5 5 5
Humbucker HI 5 7.5 5 5
Guitar/
Pickups
Input Volume Tone Reverb D ell
Single Coil HI 7.5 8 7 9

9
Tweed Voicing
Tweed VoicingTweed Voicing
Tweed Voicing
The Tweed voicing is inspired by vintage classics like the Tweed Deluxe, Tweed
Bassman, and others of the period. This is very versatile voicing. At lower volume
settings, the clean tone is thick and warm, with a nice presence in the midrange and a
silky top end. This makes it great for fattening up a tele, or even for an authentic 50's
jazz sound with a hollowbody guitar. As you crank up the volume, the power tubes add
some growl and subtle compression, which you can control with your pick attack and
playing style, for an expressive sound like you might hear on the Steely Dan records of
the 70s. Crank it up, and you'll get the milkshake-thick grind that tweed amps are
known for. Here are a few sample settings:
1. Fat Clean Tone
2. Edge of Overdrive
2. Hot Tweed Crunch
Guitar/
Pickups
Input Volume Tone Reverb D ell
Single Coil HI 3 3 4 4
Humbucker LO 4 4 4 4
Guitar/
Pickups
Input Volume Tone Reverb D ell
Single Coil HI 5 5 3 3
Humbucker HI 4 7 3 3
Guitar/
Pickups
Input Volume Tone Reverb D ell
Single Coil HI 8 5 3 3
Humbucker HI 8 6 3 3

10
Lead Voicing
Lead VoicingLead Voicing
Lead Voicing
The Lead voicing adds a little Valco/Supro mojo to the basic Tweed sound, for a unique
and authentic old-school guitar tone. If you plug into the LO gain input, and keep the
volume control down relatively low, this setting conjures the sound of early blues and
rock & roll with a rounded, boxy, semi-clean tone that captures that distinctive
character found on recordings from the '50s by artists such as Chuck Berry, Bill Haley,
etc. If you plug into the HI gain input, and crank it up, the amp really comes alive. This
voicing gives you plenty of gain for a nice chunky hot-tweed lead sound, while the
unique 5881 output stage helps prevent it from becoming too compressed, fizzy, or
buzzy, no matter how hard you drive it. Even with single coils, you can dial in a nice
thick crunch like you might hear on the old ZZ Top records.
1. 1950's Rock & Roll
2. Crunchy Lead
Guitar/
Pickups
Input Volume Tone Reverb D ell
Single Coil LO 6 4 3 3
Humbucker HI 5 4 3 3
Guitar/
Pickups
Input Volume Tone Reverb D ell
Single Coil HI 9 5 5 2
Humbucker HI 8 7 5 2

11
5 Ironman/II Attenuator
5 Ironman/II Attenuator5 Ironman/II Attenuator
5 Ironman/II Attenuator
Purpose of the Attenuator
Purpose of the AttenuatorPurpose of the Attenuator
Purpose of the Attenuator
In the Falcon Grande, virtually all overdrive and
distortion are generated by the phase inverter and
output tubes. Output stage distortion has a
different sound and feel than distortion generated in
the preamplifier, and this is big part of the Falcon
Grande's unique tone. The difficulty with this type of
design is that overdrive and distortion can only be
achieved at maximum output power (and therefore
maximum volume).
Operating the amp at maximum volume isn't practical for all playing conditions, so a
power attenuator is an effective and necessary solution to control the volume level while
allowing the output tubes to operate at full output power.
A power attenuator is a circuit which is connected between the output of the power
amplifier and the speaker. It allows you to selectively send some fraction of the power
generated by the output tubes to the speaker, with the rest dissipated in a built-in load
circuit, as shown in the diagram below:
Attenuator Control
Attenuator ControlAttenuator Control
Attenuator Control
On the Attenuation dial, 0db is the loudest setting. At this setting, the attenuator is
fully bypassed, and the speaker is connected directly to the output of the amplifier.
The –36db setting is the quietest setting. At this setting, most of the power generated
by the output tubes is absorbed by the attenuator's load circuit, and only a few dozen
milliwatts of power are sent to the speaker.

12
How to Use the Attenuator
How to Use the AttenuatorHow to Use the Attenuator
How to Use the Attenuator
First, lets start with the basics of how to use the attenuator. For practical purposes,
the Attenuation knob can be thought of as providing the same function as a “master
volume” control. This means that you will use the “Volume” controls to adjust the gain
of the preamp and the amount of overdrive/distortion you wish to dial in, and you will
use the “Attenuation” dial to set the volume level that you wish to produce.
You may wish to experiment to confirm this behavior. For example, try selecting the
lead voicing, and set the amp up like this:
Volume Tone Voicing Reverb D ell Attenuation
7 7 Lea 4 5 -24 b
Now, while playing through the amp, try turning the Volume control up and down a bit.
You will see how slight changes in the Volume control will make the tone more or less
distorted, but won’t have much effect on the volume level in the room. The reason for
this is that the output stage of the amplifier is already generating maximum output
power even if the amp is only just on the edge of breakup. As you turn up the Volume
control past this point, the output stage cannot produce any more power – it just
becomes more overdriven.
After trying that experiment, set the volume control back to 7, where you started, and
try adjusting the attenuation knob on the back of the amp. You will see that the
volume level in the room changes, but the amount of overdrive and distortion does not.
This is the purpose of the attenuator.
Technical Details
Technical DetailsTechnical Details
Technical Details
The Falcon Grande's Ironman II attenuator is a fairly sophisticated unit containing
certain features that make it very effective at maintaining the cranked amp sound at
even very low volume. Here are few technical details of these design features:
Tuned Reactive Load
Tuned Reactive LoadTuned Reactive Load
Tuned Reactive Load
To preserve the natural response and feel of an amplifier, it is critical that the output
tubes see the proper loading. The Tuned Reactive Load of the Ironman-II closely
mirrors the impedance curve of a real speaker, which results in a more natural
tone and feel than the simple resistive load used in most attenuators.
Volume Compensation Circuitry
Volume Compensation CircuitryVolume Compensation Circuitry
Volume Compensation Circuitry
The ear perceives sound differently at low and high volume levels, which is why many
attenuators may sound thin and muffled at lower settings. The Ironman-II overcomes
this phenomenon with its' proprietary Volume Level Compensation Circuitry, which
adjusts the tonal balance at each attenuation step, to ensure that the sound you hear is
always as deep, rich, and present at low volume as it is at high volume.
Damping Factor Correction
Damping Factor CorrectionDamping Factor Correction
Damping Factor Correction
A loudspeaker performs differently when driven with very little power, compared to its
response at full power. The Ironman-II's Damping Factor Correction Circuitry
compensates for this effect, making the speaker perform more naturally at low
volume so it retains the feel of a cranked amp, even at bedroom volume.

13
4 Getting a Great Sound at Home
4 Getting a Great Sound at Home4 Getting a Great Sound at Home
4 Getting a Great Sound at Home
The Effect of Your Acoustical Environment
The Effect of Your Acoustical EnvironmentThe Effect of Your Acoustical Environment
The Effect of Your Acoustical Environment
When playing in a large room or on a big stage, getting a great sound from your amp is
easy. Generally, in this type of setting, you would simply crank the amp up to full
power, and it would sound great.
Playing at home, or in any small room, is a different story. In a case like this, the
acoustic properties of the room can have a big influence on the sound you hear, and
can often cause problems.
There are many types of problems that can happen in a small room. Here are a few
suggestions for how to deal with them:
Floor Reflections
Floor ReflectionsFloor Reflections
Floor Reflections
If you have the amp sitting on a hardwood, tile, or concrete floor in a small room, it may
sound harsh in the upper midrange, because of reflections off the floor directly in front
of the amp. To help solve this problem, you might try placing a small piece of carpet (or
a doormat, for example), directly in front of the amp.
Where to Place the Amp
Where to Place the AmpWhere to Place the Amp
Where to Place the Amp
To begin, it should be noted that the Falcon Grande was designed to be placed on the
floor, and it will have the best tonal balance sitting directly on the floor. However, due
to certain design features of the speaker cabinet, it can also sound very good when
elevated, but it may lose some bass extension.
Next, you will find that the sound you hear is greatly influenced by the location of the
amp in the room, and by the orientation of the amp with respect to the listening
position (i.e. if the amp is pointing at you or away from you).
I strongly suggest experimenting by moving the amp around to different places in the
room, playing through it at each location, to find the place that sounds the best.
Carpeting
CarpetingCarpeting
Carpeting
Carpeting can cause problems as well, and it’s not quite as simple as rolling off the high
frequencies and making the amp sound dark. Often, the problem is that it causes a dip
in a certain region in the midrange, leaving a hole in the lower midrange that makes the
amp sound harsh and brittle in the top end. This generally can’t be helped by moving
the amp to a different location in the room. The only solution I’ve found is to raise the
amp up a few inches off the floor. You may lose some bottom end in doing this, but the
positive effect in smoothing the midrange response will more than make up for it.

14
The Attenuator Can Help
The Attenuator Can HelpThe Attenuator Can Help
The Attenuator Can Help
So far, we’ve discussed using the attenuator to control the volume in the case where
we’re driving the amp into overdrive and distortion. However, it can also help with
clean tones in a problematic room as well.
Usually, in a good sounding room, you would set the attenuation knob to 0db or bypass
the attenuator when dialing in a clean tone. This always gives you the most headroom,
and the most apparent clarity and dynamics.
However, if you are finding that the amp sounds harsh in your room, and that it’s hard
to control the volume because you are using a setting between 1 and on the Volume
knob, then the attenuator can help. Try setting the attenuator down a few steps (e.g.
try it at –15db), plug into the LO input, and turn the Volume control up a bit to
compensate. You should find that this smoothes out the upper mids and fattens up the
tone without losing presence.

15
5 Tube Installation and Replacement
5 Tube Installation and Replacement5 Tube Installation and Replacement
5 Tube Installation and Replacement
Choice of Tube Types and Brands
Choice of Tube Types and Brands Choice of Tube Types and Brands
Choice of Tube Types and Brands
The following tube types are recommended:
No. Type and Brand Function
V1 TAD 1 AX7A-C/Tung-Sol 1 AX7A Preamplifier
V TAD1 AX7A-C/Tung Sol 1 AX7A Phase Inverter
V3-V4 Tung Sol 5881 Output Tubes
The tube brands shown above are my own preferences. You
may want to use other brands, to tailor the sound to your own
tastes. Here are a few notes on the various brands available
today:
Output Tube Choices
Output Tube ChoicesOutput Tube Choices
Output Tube Choices:
The Falcon Grande is designed to accept 5881 output tubes. Of the brands available
today, my preference is the Tung Sol 5881.
You may also install 6L6s in the Falcon Grande. 6L6s are a drop-in replacement, with
no adjustments necessary. In the Falcon Grande, 6L6s will have a bit later breakup,
but may be a bit glaring in the top end.
12AX7 Tubes
12AX7 Tubes12AX7 Tubes
12AX7 Tubes:
Both the TAD 1 AX7A-C, and the Tung Sol 1 AX7A are a great match for the Falcon
Grande. Both have a nice balance of detail and warmth, with the Tung Sol having
perhaps a bit more transparency in the top end, and the TAD having a bit less
glassiness but still a nice presence in the upper mids.
EH 1 AX7s are very similar to Tung Sol 1 AX7s – both are very quiet with very low
microphonics and are a bit on the bright side, with an extended top end. Tung Sols
seem a bit warmer than EHs.
The Svetlana 1 AX7, a short-plate tube, has nearly the clarity of the 1 AX7EH, and
slightly more bottom end, but is a bit congested in the midrange. Years ago, I had
selected this brand as the brand of choice for the Meteor/II amp, but later changed to a
combination of the 1 AX7EH and the 1 AX7LPS.
Sovtek 1 AX7LPS – this long-plate 1 AX7 has a big, warm sound that comes close to a
good NOS long-plate 1 AX7. However, this tube can tend to be microphonic.
Alternate Tu
Alternate TuAlternate Tu
Alternate Tube Choices You May Want to Try
be Choices You May Want to Trybe Choices You May Want to Try
be Choices You May Want to Try
If the preamp is too gainy for your taste, and you find that you’re setting the volume
controls down quite low to get sufficient clean headroom, you may want to try swapping
in either a 1 AU7 or 5751 in the V1 position.

16
Installing Tubes
Installing Tubes Installing Tubes
Installing Tubes
When installing tubes, you may find it helpful to lay the amp on its side, on a table, and
shine a light directly into the back of the amp, to aid in locating the position of each
tube. Tubes must be installed in the correct orientation.
The 1 AX7 tubes have a blank space in the ring of pins which must line up with the
blank space in the ring of pins in the tube socket, located on the chassis.
The 5881 tubes have a small cylinder with an indexing key in the center of the ring of
tube pins, and this indexing key must match up with the corresponding slot in the
socket on the chassis.
Replacing Output Tubes
Replacing Output TubesReplacing Output Tubes
Replacing Output Tubes
The output stage of the Falcon Grande is cathode biased, and no bias adjustment is
necessary when changing output tubes. The design of the Falcon Grande’s output
stage allows a fair amount of margin for variation in tube characteristics, so any known
brand of 5881 or 6L6 will work properly and be correctly self-biased.
Tube Quality
Tube Quality Tube Quality
Tube Quality
Currently manufactured tubes are built in China, Russia, or the Czech Republic, and
are not built to the same quality standards as tubes manufactures by the U.S.
manufacturers in the “glory days” of tube manufacturing.
We musicians choose to use to vacuum tubes because of their tone, but we need to
accept that the tubes available to us these days can be imperfect devices, and are most
certainly the least reliable component in the entire amplifier.
It would seem that the obvious solution would be to use new-old-stock tubes that were
made back in the “glory days”, when tubes were properly made. However, I’ve lately
been finding that much of the available stocks of such “new old stock” tubes are either
gassy, noisy, or unreliable – I do believe that we’ve reached the bottom of the barrel of
NOS tubes.
Tube problems generally reveal themselves as a crackling noise which can occur
continuously, sporadically, in response to mechanical vibration, or in response to your
playing (e.g. a crackling or other type of noise which occurs only when you hit a note).
We subject all tubes to a thorough burn-in and test procedure to ensure that they are
fully up to spec and operating perfectly. However, you must be aware that the majority
of tube failures occur early in their life, and may come about as a result of the jostling
and jarring that an amp can receive in shipping. In spite of the exhaustive testing we
perform at the shop, early-life tube problems cannot always be found in such testing.
The first two months or so are the most tenuous period for any set of tubes. Most
manufacturing defects will be revealed in the first two months of their life, but many are
not detectable in initial testing, even after a burn-in period.
If you notice any noises, cracking, or any other odd behavior of your amplifier in this
period, note that it is most likely to be the result of a defective tube, and should be
debugged as such.

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Premier Builders Guild LLC
Limite Warranty
Premier Buil ers Guil LLC
201 S. Highlan Avenue, Suite 204
Pittsburgh, PA 15206
This warranty gives you specific legal rights; you may also have other rights which vary from state to state. There are
no express warranties except those liste below.
Length of Warranty
This warranty shall remain in effect for five years from the ate of sale of the pro uct as shown on the original bill of
sale.
What is Covered
This warranty covers all efects in material an workmanship in this pro uct, with the following exceptions:
1. Damage or eterioration of the cabinet, or any other cosmetic amage which occurs after elivery is not
covere by this warranty.
2. Damage after initial elivery resulting from acci ent, unreasonable use, or neglect, is not covere by this
warranty.
3. Damage resulting from the performance of repairs by someone other than the Tone King Amplifier
Company is not covere by this warranty.
4. Damage occurring uring shipment or elivery of this pro uct to the Tone King Amplifier Company
after initial elivery of the pro uct is not covere by this warranty.
5. Vacuum tubes are consi ere a user-replaceable item, as they are expecte to wear out an require
replacement over a reasonable perio of time. Tubes are warrante to be serviceable for a perio of 90
ays from the ate of sale.
6. The speaker(s) in this amplifier has(have) been selecte for use only with this amplifier. If the
speaker(s) of this amplifier is(are) connecte to an amplifier other than the inten e amplifier, any
warranty of this speaker shall be eeme voi .
What We Will Pay For
The Tone King Amplifier Company will pay for all labor an material expenses to fix or replace all items covere
un er this warranty. The customer will pay shipping charges to return the pro uct to the Tone King Amplifier
Company. If the necessary repairs are covere un er this warranty, the Tone King Amplifier Company will pay any
shipping charges require to return the pro uct to the customer.
Limitation of Implied Warranties
All express or implie warranties of merchantability an fitness for a particular purpose are limite in uration to the
length of this warranty, unless otherwise provi e by state law.
Exclusion of Certain Damages
The Tone King Amplifier Company’s liability is limite to the repair or replacement, at our option, of any efective
pro uct, an shall in no event inclu e inci ental or consequential amages of any kin . Some states o not allow
limitations on the length of an implie warranty an /or o not allow the exclusion of inci ental or consequential
amages, so the above limitations an exclusions may not apply to you.
Obtaining Warranty Service
If your unit requires service, it shoul be returne to the Tone King Amplifier Company at the a ress liste above.
Before returning the unit, you must contact the Tone King Amplifier Company an obtain return authorization.

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CE Declaration
CE DeclarationCE Declaration
CE Declaration