Content

• To step
• Part 1 of 6: The basics
• Part 2 of 6: Tube and transistor amplifiers
• Part 3 of 6: Combo amps
• Part 4 of 6: Tops, speaker cabinets and stacks
• Part 5 of 6: Products in a rack
• Part 6 of 6: Choose the right sound
• Tips
• Warnings

It can be daunting when you want to buy a new guitar amp, but you don't know exactly what the difference is between tubes and transistors, EL34 and 6L6 or the difference between the British sound or the American sound. And what the heck does a "creamy tone" sound like? If you're not careful, switch to the ukulele and move to Hawaii! But before you do that, read this article. We will tell you what to pay attention to, the things you need to be aware of and whisper you what is not important. We'll start with the best piece of advice out there:

To step

Part 1 of 6: The basics

1. Use your ears. It may sound a little too easy and above all untechnical, but it is important that you realize from the start that you have to love the sound of the amp related to the style of music you practice.
   • A Marshall amp sounds great - if the style of music you play falls into the Van Halen, Cream or AC / DC category.
   • A Fender amp also sounds great - if you're more into the sound of Stevie Ray Vaughn, Jerry Garcia or Dick Dale.
   • The best way to know what an amp sounds like is to Your own guitar. If you are a beginner and not quite sure, and you want an amp "on the growth", ask someone from the music store to play about it. The key question here is: how does amp "a" sound compared to amp "b" Do whatever it takes to reach a good agreement.
2. Evaluate your needs. Amplifiers are usually categorized by wattage, not physical size (although high wattage amps are usually larger).
   • Tube amplifiers with a lower wattage will provide harmonic distortion at low volumes, preferred in the rehearsal room, studio, or an amplified performance.
   • Tube amps with higher wattage " will distort at higher volumes - that requires a creative mix in a live situation.
   • The wattage has an effect on both the actual volume and the feeling volume. In general, to double the feeling volume, the wattage must increase tenfold. For example, a 10 watt amp will sound twice as quiet as a 100 watt amp.
   • The wattage and price of an amplifier are rarely related, a 10-watt amplifier can be two, three or even ten times the price of a 100-watt amplifier - depending on the quality of the components and the design. A second-rate 100-watt transistor amplifier is cheap to produce compared to a great 5-watt, high-quality tube amp.
3. Understand what determines the overall tone of an amp. The sound quality you experience can be determined by many aspects, including (but not limited to):
   • The tubes of the preamp
   • The tubes of the power amplifier
   • The material the speaker cabinet is made of
   • The type of speaker
   • The resistance of the speaker
   • The guitar used
   • The cords used
   • The effects used
   • The elements of the guitar
   • And even the player's fingers
4. Learn the categories. The two main categories of guitar amp configurations are: combo and top / speaker cabinet
   • Combo (combination) amplifiers combine the amplifier electronics with one or more speakers in a single package. They are usually smaller, because combining a powerful top with a pair of hefty speakers quickly falls into the "weight lifter" category.
   • The top / speaker cabinet configuration solves the weight problem by separating the speaker cabinet from the amplifier. A top is usually placed on top of the speaker cabinet, but they can also be placed in a rack, which can be useful for touring and the more complex guitar signal chains.

Part 2 of 6: Tube and transistor amplifiers

1. Compare tubes with transistors. There are important differences between the two types of gain. Tube amplifiers use vacuum tubes in both the preamplifier and power amp, and transistor amplifiers use transistors in both parts. This results in a big difference in sound.
   • Transistor amplifiers are known for their crisp, clean and accurate sound. They respond quickly to your playing and can handle much more than tube amps: think of the difference between a light bulb (tube) and an LED (transistor). Throw both on the ground and you will be able to sweep up one of the two with a brush and dustpan. In addition, the technology continues to develop, many transistor amplifiers have a large selection of simulated sounds from different amplifiers as standard, which provides enormous versatility.
   • Transistor amplifiers of a particular brand often have a similar sound, which can be useful if you need a reliable, repeatable tone. They are also a lot lighter than their tube brothers and a lot cheaper.
   • These versatile and indestructible features come at the expense of the warmth of the sound. Although that is a completely subjective judgment, there are some sensible things to say about this difference: When a transistor amplifier distorts, the sound wave shows sharp angles and it produces overtones over the entire range of human hearing. A distorting tube amplifier, on the other hand, has rounded corners and the overtones already descend within the frequency range of the human ear. That gives the tube amplifier its famous warmth.
   • Tube amplifiers have an indeterminable "je ne sais quoi", which makes them the most popular type of amplifier. The sound of a tube amp has been described as "thick", "creamy", "fat" and "rich" - additives that would make you very fat if it were about nutrition!
   • Tube amps can differ slightly in tone per amp, and the difference is also greater per guitar player. For some musicians their amplifier which determines their sound together with the guitar.
   • Tube distortion is softer and for most more pleasant on the ear, and if you give the amp a good thunder, a compression is created that gives the tubes their specific sound richness.
   • Tube amplifiers can be much more powerful than transistor amplifiers. A 20 watt tube amplifier can easily sound just as loud as a 100 watt transistor amplifier.
2. The drawbacks of tube amps are more practical than audible. A tube amplifier - and certainly a large one - is often very heavy: not very pleasant if you always have to lift your stuff to three high!
   • Tube amps are also more expensive, both to purchase and to maintain. A transistor amplifier "is" just what it is. A transistor amplifier always sounds the same, year after year. Pipes, on the other hand, wear out slowly, there comes a time when you have to replace them. Tubes are not very expensive, but every now and then it will cost money (the more you use the amplifier, the more often you have to replace it).
   • Tube amps rarely have emulation effects. If you want a completely different sound, you need guitar effects. Tremolo and spring reverbs are often built into tube amplifiers.
3. Don't be biased. It is good to know the pros and cons of both types of amplifiers, but it is by no means always "tubes good, transistors bad." Research has shown that tube and transistor amplifiers are almost indistinguishable from each other as long as no distortion occurs.

Part 3 of 6: Combo amps

1. Explore the combo amp options. Here are some common combos configurations:
   • Micro amplifiers: 1 to 10 watts. These are very small handheld amps that come in handy for practicing on the go (or when some are trying to sleep). They don't have enough power to use in most "jam" situations (where you need to be heard in relation to the other musicians). Generally sound quality is very poor (compared to larger amps) due to the low output power and poor quality parts, so not very suitable for gigs. The Marshall MS-2 is an example of a very handy micro-amplifier (1 watt) that has received good reviews for a transistor amplifier of this size.
   • Practice amps: 10 to 30 watts. Practice amps are also suitable for the bedroom / living room environment, although the loudest are best used for small gigs, especially if a microphone is used to amplify it further through the PA system. Popular tube practice amps that sound at least as good as much larger amps include: Fender Champ, Epiphone Valve Junior and the Fender Blues Jr. In general, the best amplifiers in this category have 20 to 30 watts of power and at least a 10 inch speaker.
   • 1x12 combos: With 50 watts or more of power and at least one 12-inch speaker, the 1x12 amp is the smallest package considered suitable for gigs without using a microphone. For more expensive models, such as those from Mesa, the sound quality is of professional caliber.
   • 2x12 combos are the same as 1x12 combos, but they have a second 12-inch speaker. The design is much heavier and larger than the 1x12, but it is still often the favorite of professional musicians when performing in small to medium-sized venues. The addition of a second speaker gives the possibility to use certain stereo effects, in addition, two speakers move more air than one (which gives your sound more presence). A favorite in this category is the Roland Jazz Chorus, which delivers a specific sound, stereo, clean and with built-in effects.
2. Pay attention: small combos are often preferred in the studio. For example, if you want to know what a tiny 5 watt Fender Champ sounds like in the studio, listen to Eric Clapton's guitar on Layla again!

Part 4 of 6: Tops, speaker cabinets and stacks

1. Explore the options for tops and speaker cabinets. Combos are great as an all-in-one solution, but many musicians want to be able to customize their sound. For example, they like a Marshall speaker cabinet, but only if it has a Mesa top on top. Others aren't that choosy when it comes to speaker cabinet type, but they just want to be able to build a wall across the width of the stage.
2. Learn the terminology. A "top" is an amplifier without speakers. A "speaker cabinet" (or cabinet) can be connected to a top. A stack is a top and number of speaker cabinets connected together, ready to use.
   • A stack is usually more suitable for gigs than practice, although there is no rule that you shouldn't have a huge stack in your living room - if your family allows it. A word of warning: in most cases that is not appreciated! A stack is very large, very heavy and devastatingly hard. These are the tools of a musician who plays in large venues.
3. Put it together. A top is always about the same size, but the wattages can vary greatly. A small top produces 18 to 50 watts, while a powerful top is usually 100 watts or more. You also have super amps that display a tinnitus-causing 200 to 400 watts of power.
   • A small top is usually enough for a small to medium-sized room. A small top is often paired with a 4x12 cabinet (which contains four 12-inch speakers, as the name implies). This type of setup is also called "half stack" and is preferred by many professional musicians.
   • Just keep in mind before buying half a stack that they will be too big and loud for most cafes or venues with a small stage (so most of the gigs you do, they won't fit in a normal car, your band members will probably not helping lift and half a "stack" shall damage your hearing if you don't use hearing protection. Half a stack provides enough volume and the presence of four speakers.
   • A full stack is the dream of many guitarists (but there will be some frowning from your sound engineer and those you share the stage with). In this setup, an amplifier of at least 100 watts is connected to two 4x12 speaker cabinets. The speaker cabinets are stacked vertically (on top of each other).
   • A full stack is the size of a tall man, so it's pretty impressive to watch. The sound is just as impressive. This setup is only suitable for the very largest of venues and even then the sound engineer will use microphones to amplify out so in fact you never fully use it. Most professional guitarists use two half stacks in stereo rather than a full stack for a tour.
   • The really sadistic guitarists (sound wise) like some heavy metal guitarists use a 200-400 watt top coupled with a full stack. Either way, you need hearing protection if you don't want to permanently damage your hearing.
   • Most bands with a full stack only use it for show. Usually only one speaker cabinet actually has speakers, the rest is simply empty. Mötley Crüe used to have fake speaker cabinets, made of black cloth and wooden beams, so that it looked like a wall of stacks!
4. Do what professional guitarists do. Most pros use 2x12 or half stacks because the sound is easier to control. If you really want a full stack feel free to go ahead, but you can only really use it if you're going to do a stadium tour. They are simply too big and too impractical.

Part 5 of 6: Products in a rack

1. Use a rack. Many musicians use a rack for their devices, usually a reinforced metal box with removable panels on the front and back. At the front, if the box is open, you'll find two vertical rows of threaded holes on the sides 19 inches apart - that's the standard size for racks.
   • Just like an arrangement with top and cabinet, in the case of a rack you have an amplifier that is separate from the speakers. But a rack amplifier can be divided into two parts: the preamplifier and the power amplifier. A top and a combo have this too, but you can separate them in a rack.
   • Most major amplifier manufacturers such as Marshall, Carvin, Mesa-Boogie and Peavey make rack-mountable amplifiers.
2. The preamplifier. This is the first stage of amplification: in the basic form, the preamplifier amplifies the signal in such a way that the power amplifier can be effectively controlled. With more expensive preamps you can often change the sound, for example by using an equalizer.
3. The power amplifier. This is connected to the preamplifier, it takes the signal that formed the preamplifier and gives it the raw power needed to be able to blast through the speaker. Just like a top, a power amplifier is available in different sizes, from a minimum of 50 watts to devilish 400 watt power amplifiers.
   • You can link as many power amplifiers as you want in a chain or hang them in parallel to different preamplifier outputs to boost the signal, but also to be able to mix the different sounds of power amplifiers.
4. Drawbacks of rack arrangements. As you have noticed, a rack amplifier can be very complicated. A starting guitarist would slowly go crazy. They're also bigger and heavier than a top, plus the size and weight of the rack itself. Because you have to purchase multiple parts and accessories, a new rack amplifier can be more expensive than a top.
5. See the benefit. A rack allows you to mix products from different manufacturers and thereby find a sound that no one else has! And in addition to the preamp and power amp, there are many other devices you can place in the same rack - reverbs, delays, EQs and other fun toys.
   • Racks often have wheels, which makes it easy to move, but it can also simplify your entire setup: your components are always ready to play when you have your rack on stage.
   • And last, racks are uncommon, so you'll get attention anyway. People will be impressed when you roll your rack into a rehearsal or performance, but watch out: people expect a seasoned guitarist, or at least one who knows exactly how to use their rack. Don't go anywhere with your rack until you know exactly how to make all those elements work together the way you want. Musicians like Robert Fripp, The Edge and Kurt Cobain have / had a preference for racks.

Part 6 of 6: Choose the right sound

1. Understand why different types of amps are suitable for different types of music. There are many different types, but amplifiers can be roughly divided into two categories: "vintage" and "high gain".
2. Choose the right amplifier for the job. Every style of rock music has characteristic amplifiers. These are some general guidelines:
   • Vintage amps produce the classic sound of early amps. The vintage sound is still considered by jazz, blues and blues rock guitarists to be the most suitable for the style. Vintage amps can actually be antique or they are modern amps built to mimic the vintage sound. The vintage sound is based on amplifiers from Fender, Vox, Marshall and other brands from the 50s, 60s and 70s. Think "vintage" and you automatically think of Hendrix, Led Zeppelin, Eric Clapton, Deep Purple etc. That's where it all started.
   • High gain amps produce a sound with more distortion than vintage amps. Not everyone agrees on the development of high-gain amplifiers, but many believe that Eddie Van Halen was crucial in the creation of these amplifiers. Van Halen knew little about electronics (he admitted that's why his guitar is so strangely put together), but got his high gain tone by setting all knobs to ten and then getting the volume under control with a "variac". ", which brought the voltage down. With his famous solo in "Eruption" from 1977, Eddie Van Halen introduced for the first time the ripping sound of an amplifier whose tubes are completely saturated. Amplifier builders then added extra gain stages to the preamps in order to get a higher gain sound at a controllable volume. With the development of heavy metal, the need for increasingly fierce high gain amplifiers developed. For hard rock and heavy metal from the early '80s and beyond, vintage amps are certainly eclipsed by their high gain opposites.
   • If you want to play jazz, blues-rock (in the style of Led Zeppelin) or early heavy metal (in the style of Black Sabbath), a lower gain tube amp is probably the most suitable. A high-gain model is more suitable for hard rock and metal.
   • Amplifier simulation (modeling) technology, which allows one amp to sound like many different amps, is a relatively recent development that has met fans and critics alike. Modeling amps can be very useful, but if you're a purist you'll want a real Fender Twin Reverb, an antique Marshall "Plexi" top or something similar.

Tips

• Be careful not to overdrive a transistor amplifier. Don't be afraid to set the gain to 10, but be careful about putting overdrive effects in front of the amp, as you can burn a transistor. This is not dangerous with a tube amp, because tubes can handle a ridiculous amount of overdrive.
• it is often better to buy a small amp with good sound than a big, loud amp that sounds cheap. You will never regret a good sound, but you will always regret a bad sound. Some music stores will try to sell beginners a loud amp with lots of effects, but don't fall for that. Use your ears and choose an amp that you really like the sound of, don't spend money until you find that amp.
• Always try before you buy. Most music stores will be happy to help you, and if not, you will have to go to another store.
• Buy a modeling amplifier if you are looking for an amplifier that can do "everything". The best of these amps can approximately reproduce the sound of many other amps and they often have many additional effects such as delay, chorus, flanger, reverb, etc. Line6, Crate and Roland make good effect combos.
• For most guitarists, a 30 watt amp is more than enough for the bedroom, rehearsal or small gigs.
• Be careful with a tube amp if you choose to. Tube amps are usually much more delicate than transistor amps. A new Soldano tube top that fell down the stairs may be damaged beyond repair, while a random transistor top might still work.
• If you want to buy an amp, don't just look at the price. Cheaper amps can sometimes sound great, while the most expensive amp is often not at all suitable for what you need. Read user reviews on various websites.

Warnings

• Keep the volume low when you practice at home. Headphones are always useful. Also watch out with your Marshall stack in the garage if you live in a row house. Not everyone can appreciate Black Sabbath's "War Pigs" at a ridiculous volume.
• Never play on a tube amp without a speaker connected. Without a speaker you help the amplifier to the philistines.
• If you play very loud and with a lot of distortion, you should always make sure your speaker can handle it.