Interview by Trent Salter

MH: Aspen, what and who were your early musical influences?
AP: My mom sang jazz, 3 piece piano bar torch song stuff. I used to go along and listen. She loved Nat Cole, Sarah Vaughn and Sinatra so I grew up listening to a lot of big band. My dad played Spanish guitar and gave me his old gut string when I was about 10. I took a few guitar lessons and then began to teach myself. I was heavily hooked on folk music, the more traditional stuff. I was a total Hippie, lived in Haight Ashbury during the summers of 1964-1966, the whole bit. I formed a few folk bands. We played around town and in school...I was president of the folk club for my last 2 years of high school. And while I liked Rock, I loved De Blues and the more traditional folk stuff. I started and still play acoustic guitar as my main instrument, and when I play with or design a guitar electronics product, my design goal is always to build a product that has a natural feel and response like an acoustic instrument. I remember my first experiences with electric guitar and it being hard to control because the instrument responded so differently. My favorite early guitars and amps were those that had great "acoustic" feel, and so gave me more control. 

MH: Do you recall your first experimental attempt at modifying an amplifier or actually building a piece of gear?
AP: Well, if you've ever read my book, I do not approve of most amp modifications as they usually sacrifice tone and reliability and basically screw up a perfectly good amp. I regularly advise NOT to modify that Fender or Marshall to be something it was never intended to be. In the end it's cheaper, easier and faster just to sell your Marshall and buy a Boogie (or visa versa!) if that's the tone and feel you're attracted too. Of coarse, I have specialized in vintage restoration for some time, as both a collector and as a reference for growing our tube line. In that process I have done more "unmodifying" than I care to remember, and it usually costs more than the original mod to put things back right. However, I have been involved in designing, engineering, and manufacturing dozens of products over the years, and I guess the first I made on my own were the modified tube amp test systems we use to make Groove Tubes. Before that, I worked for Acoustic in the early 70's, as a part of the development team that made the first switching channel amps. Acoustic made amps for the Doors, Zappa, later Jaco Pastorius of Weather Report. However, Acoustic didn't make a tube amp until after I had left the company and formed Groove Tubes in 1979. So, I guess my first "mod" and/or product was making test amps out of old Super Reverb amps for preamp tube selection. These were pretty much along the lines of an early Boogie amp, using Fender chassis and transformers and adding some extra gain stages. This approach of using real amps and real ears to select premium preamp tubes works so well that we still use them today (albeit with custom power supplies to keep noise low), and some of those original Super Reverbs are still cranking out 1,000 of tubes a day, all tested by hand and ear! I like the Super Reverbs best because the upper right 10" speaker is just a few inches from the V1 tube (1st gain stage tube), and so really shows up adverse microphonic or hum problems. We also have several other customer test fixtures made from real amps for selecting preamp tubes for our OEM customers like Fender. The new Fender amps are different than the early ones, and need special selection procedures to reflect their new designs, but it's all still done one at a time by hand and ear. In the beginning, we also used real power amps specially modified for the power tube matching; Fender for testing 6L6's and Marshalls for EL34's. We could fully test and measure a single power tube in about 5 minutes. But as business grew rapidly we quickly discovered we needed a faster and higher capacity system so we built super high capacity test amp fixtures that could test any power tube better and faster. These systems could be externally programmed to emulate the circuitry of either Fender, Marshall or whatever. Our first systems could process 8 tubes in about 3 minutes and were controlled by early CPM computers for speed, consistency and accuracy. The newest systems we've built process 16 tubes in the same time.

MH: When and what was your first authentic job in this business? 
AP: I was delivering organs for Keys to Music in Van Nuys after High School and got a call from another affiliated organ store, the Organ Center Hollywood, looking for anyone who could setup, play, and sell guitars for a new store in Hollywood...this was the first Guitar Center. I started there as a "salesman trainee", which consisted of unpacking and setting up guitars and amps and also helping the customers. In the beginning, all the managers and salesmen wore Leisure suits and were from the organ store operation, so they knew next to nothing about guitar. In fact, when I went to work there a few months after they had opened, I was the only one of the staff under 50, and able to tune or play a guitar! I stayed with Guitar Center during this period for about 3 years, quickly becoming top salesman and eventually the Sales Manager. I was opening the store at 9:30 AM and closing it at 10:00PM six days a week. We closed at 6:00 PM on Sunday (I do not miss those retail hours). I got a day off every two weeks and we only closed Christmas and New years and we took inventory on New Years Day! One hard job, but I really got to know music gear and the customer well. I stayed in retail another 3-4 years, opening my own store for a few years and later returning to Guitar Center for a period of time. Then I got offered a rep job from both Kustom Amps and also Acoustic. Looking to grow in the business, I went with Acoustic because I knew and liked the guys in the company...and they also paid a little better as I recall. Seven years later, I had risen to the head Marketing position at Acoustic and was ready to break off on my own.

MH: Tell us how and when you started Groove Tubes and the very first product that carried the Groove Tubes brand name?
AP: I started Groove Tubes "officially" in late 1979, although most of the experimenting and product development work was done in the preceding year. During my years working in retail stores I had been intrigued by the difference I heard between amps of the same brand and model. I was sure the tubes had something to do with it. As a tubeaholic Hi Fi buff, I had McIntosh tube amps in my home listening system. I had noticed sonic differences here too as I changed brand and type of replacement tubes, and found that the factory matched sets seemed to sound best. I reasoned I could develop sets of tubes matched and tuned for Marshall or Fender amps and set off in that direction. Unfortunately. when I used the same McIntosh matching parameters that they used in producing their matched sets, not much difference was noticed. Worse, sometimes the "unmatched" sets sounded better! It was a disappointment but also an important learning curve had begun. Rather than give up, I altered my testing parameters based on more of a real world approach. I reasoned that we used our tube amps for the production of music, and not just the reproduction as in Hi Fi tube amps. Therefore, those added sonics we love about tube amps needed defining and research. I started looking to measure and match sonic characteristics rather than those classic electrical measurements used in years past for conventional tube matching (like McIntosh used). After months of trial and error...we finally hit on a perfect formula. Our system, which is still basically the same system we use today, measures some standard things like reverse gas currents and grid leakage, to be sure the tube is a stable and will have normal life expectations. Then we measure the gain to distortion ratio, that is the tendency for the tube to add overload or soft distortion character relative to its power output. We had discovered that some tubes exhibit these sonic signatures very early in their power output scale, while other tubes from the same production run stay fairly linear (or non-distorted) right up to their maximum power output. When we matched these characteristics, magic happens! By contrast, the typical set of off the shelf tubes or even the other "matched" tubes competing on the market (then and today) which have been matched in the old traditional "gain matching" system, still exhibit inconsistent and unbalanced sound. Most notably, these sets will have an abnormally quick decay, selectively just on certain notes. This makes chords unbalanced, peaky, and voiced completely wrong. They create a kind of a hole in the frequency bandwidth of the amp, the result of actual phase cancellation as dissimilar sounding tubes are combined in the power section. Our system eliminates this unbalanced decaying effect, resulting in longer and more balanced sustain for all frequencies. The actual first tubes we sold went to a local California band, the Doobie Bros. and our first products released under the Groove Tubes name our matched sets for the Twin Reverb amp and the Marshall tops produced from original GE clear top 6L6's, Mullard EL34, and Sylvania 6L6STR tubes.

MH: Anything special for the Summer NAMM Show?
AP: Yes, we have several new tubes added to the catalog including a new KT66HP (High Power) 6L6 replacement tube, and a few new SFX cabinets (that's our patented Stereo Field Expander technology used by Fender in the award winning Acoustisonic). We have a new custom shop line for using SFX with all other types of stereo effects and amplifiers designed for professional guitar and keyboard systems. We also are just announcing we are the new and sole owners of the Vipre mic preamp which was originally under development for Alesis / GT Electronics (until they went into bankruptcy proceedings recently) and that the original Groove Tubes Audio is back in business with more tubebased studio products planned for release later this year. 

MH: Give us a brief portfolio and release dates of the products currently in the Groove Tubes family of products?
AP: Wow! OK, that would be quite a list if I included the dozens of tubes we currently manufacture and sell. So I'll just limit this reply to the other products we make in addition to the Groove Tubes product line:
1) The Speaker Emulator---our patented invention that is an interface made to condition the output stage of your tube amp for recording and/or producing live electric guitar /amp sounds. 
2) The Dual 75---a dual channel switching amp that can also be used as a conventional stereo guitar amp too. 
3) The Trio Preamp---Our 3 channel switching all tube preamp first released in 1992.
4) The Soul-o 75 amp---Our two channel switching all tube amp w/ switchable class A or Class A/B circuit design. 
5) The Soul-o 45 amp---Our single channel all tube amp w/ tube reverb and our special parallel FX loop w/ mix control.
6) The Soul-o series separate speaker cabinets:a) EX112 - has optional design that allows for either open back or closed system design, available unloaded or loaded with one 12" Groove Tubes Classic clone speaker made by Celestion.b) EX212 - has optional design that allows for either open back or closed system design, available unloaded or loaded with two 12" Groove Tubes Classic clone speakers made by Celestion.c) EX410 - has optional design that allows for either open back or closed system design, available unloaded or loaded with four 10" Groove Tubes Classic clone speakers made by Celestion.
7) The SFX E1---This 19" rack mounted SFX encoder is our custom shop professional version of the Fender SFX technology we invented and licensed to FMIC a few years ago. 
8) The E1 encoder must be used in conjunction with any of the following decoding SFX speaker cabinets: a) G3---Our 3x12" stereo speaker cabinet for guitar. one front facing 12" placed above two opposing 12" speakers at a 90 degree angle. b) K3---Our 3x12 cabinet like the G3, but uses a coax 12" in the front system channel and two Celestion 12" keyboard speakers for the Side channel opposing system.c) K1---Our biggest (and most expensive) keyboard cabinet made with JBL components, including two 5" speakers and a 4" horn and driver.d) S12--- A satellite Side channel speaker with two opposing 12" speakers.e) S15---A satellite Side channel speaker with two opposing 15" speakers.
9) The SFX backrack---this rack holding device clamps onto the SFX speaker cabinet and provides a 19" rack mounting system.
10) The MS box ---this allows you to stereo record with two different but conventional mics.
11) The Fatfinger for Bass and Guitar---This simple and easy accessory clamps onto the headstock of your guitar, bass or any stringed instrument thereby increasing the mass attached to the string and so increasing sustain and enhancing tone naturally. Released in the Summer of 2000.
12) The Fathead for guitar and Bass---The original and patented forerunner to Fatfinger that is permanently attached to your headstock by your tuning gears. 
13) The Humdinger---another guitar accessory device which enhances a conventional Fender single coil pickup 
14) The Bias Kit and Manual--Written to instruct the novice in biasing his own tube amp, released in 1987.
15) The Tube Amp Book, 4.1th edition---Over 75,000 copies sold, this is our ever growing 800+ page reference book on tube amps which was first published in 1986.
16) The Vipre----Our latest effort, a Variable Impedance all tube microphone preamp.

MH: Tell us about your publishing ventures such as the "Tube Amp" book?
AP: This book originated as a FAQ document (we called it the Tube Amp reference Guide at first) designed to keep me off the phone 24 hours a day. However it never did solve that problem, as it grew from it's first printing in 1985 of 32 pages to its current 4.1th edition with over 800 pages, many of those in color. When I first conceived it about 15 years ago, I approached a few publishers who rejected the idea as one that wouldn't sell, so I had to publish and distribute it myself. Now, with over 75,000 copies sold (qualifying it as a best seller) it has also been one of our best products, and it just keeps on selling and making new tube amp friends all over the world! I've been meaning to redo and update it for years, but it's hard to find the time with so many irons in the fire these days.

MH: How do you see this market place evolving and how do you feel Groove Tubes will adapt to a changing market?
AP: Well, contrary to what all the "experts" said 21 years ago, tubes are here to stay. Our newest goal is to begin to produce them here in the USA to original USA standards of quality, something that's been missing for too many years. We will continue to develop new and interesting products, if God continues to inspire me. I believe that I must give Him full credit for any previous successes I've had, after all, He created everything, we just stumble along and discover things and pridefully think we invented them. Also, I'm not into mass marketing stuff at the lowest prices (and quality), so don't expect any "me too!" or "Elvis Impersonator" types of products from GT, that's just not our style.

MH: How do you feel Groove Tubes is positioned in today's market place?
AP: Well, I made a decision in the beginning not just to "sell soap (tubes)" with our brand name. That is, not to just label tubes with our name and spend big bucks in advertising to convince our buyer to like our soap. Instead, we took the long view of educating our customer about tubes and tube amps, clearly explaining what exactly we do and why. After they understand the tube as a final product, we can then honestly explain the added expense we have to add to the price of a Groove Tube in exchange for the service of rejecting thousands of "nor so good" tubes to produce the "cream of the crop". We further define tube quality and performance by offering a distortion rated product that a customer can feel confident about, and one that will have consistent and reliable results as he changes tubes in the future. Therefore, because of this original philosophy to educate, and not just hype our brand name, we are secure in our premium sector of the tube market. we may not sell the most tubes, but I am confident we sell the best. And I'm happy not to be shuffling large numbers of low quality, untested, underperforming tubes to increasingly dissatisfied end users. We may cost a little more, but our customers know they get what their paying for and thankfully have always come back. That kind of loyalty took 21 years to build, and certainly our customer's loyalty is our greatest company asset and best insurance we'll be here after another 20 years.

MH: Any special personal business beliefs or philosophies you feel have attributed to the success of Groove Tubes?
AP: I have a personal belief that God has blessed me with so many of these ideas, and the energy to achieve them, and finally the many customers and friends who have supported GT all these years. Also, I was raised right (as my Mother like to often remind me!), so I give her credit for my healthy respect for the classic moral principles taught in the Bible. Also, I try and surround myself with like thinking staff members and/or highly ethical partner companies like Fender. Lastly, my wife and partner, Sigi, is my heaven sent rock that we've rebuilt our company on since we got together about 9 years ago. I couldn't have achieved success without this good woman, friend, and she's also the best book keeper I ever had!

MH: In closing, Aspen, any advice you could pass along to young entrepreneurs?
AP: Any new idea or business venture will have its startup problems. Be glad for that. Otherwise somebody would have already done it. Try and see problems as "Opportunities in Disguise", and those opportunities once "discovered" will pay your way through the jungle of business. Be original, or be better than the original. Try and bring something new to the party ever time you go out. Also, I guess my personal success came mostly from staying true to my primary interests, listening to good music and trying to make it better. I continue to learn by staying open to new concepts. Don't just try to make money. True success isn't always measured in dollars...and you can't take money with you. I've found that the money usually comes when you achieve your heart's true goal with a company or product. Even if your reward isn't big money, your life will be happier doing something you love to do....like playing guitars or building them. Finally, fear God and stay humble. Remember we don't really invent anything He hadn't already created and set in place. Maybe I discovered a few new things in the last 30+ years in this wonderful business of music making, but God created the perfection of the musical scales and also the magic (or Physics) behind our matched tubes, the Fatfingers and the amazing SFX spatial stereo effect that emanates from a single speaker cabinet. The world of Physics stays consistent, yet reveals new magic everyday, as we keep discovering new elements, power sources and ways to unite them....but all these have been there from the start of the Universe. It is interesting that Albert Einstein grew increasingly humble and God fearing as he grew in age and achievement. I had a tube factory consultant working with us here at GT, an older gentleman, who once taught on staff with Einstein at Princeton University during the war years. He told many interesting stories about "Bert" (as he called him). However, there was one that sticks in my mind, about a riddle Einstein used to give all his young new Physics students at Princeton; Question, part 1 - "How many elements are there?" Answer - There are 113 (at that time, anyway). Question, part 2 - Correct, but how many of those do you think "evolved"? God Bless you and your readers. Thanks for your interest.

Groove Tubes
1543 Truman St
San Fernando, CA 91340-3118
818-361-4500
www.groovetubes.com

Return to: