6 ways to choose a guitar amp for rock music

If you're looking for a guitar amp, but are not familiar with the little differences like tube vs. transistor, EL34 vs. 6L6, or British vs. American sound, it can be daunting. And what the heck does a "creamy undertone" sound like? It may be enough that you prefer to pick up a ukulele and move to Hawaii! Before you do, take a few minutes to read this article. We will talk about the things you want to look for, the things you should be aware of, and we will give you clues on topics that are not important. We'll start with the best advice you can get:

Steps

Method 1 of 6: The Basics

Step 1. Use your ears

Yes, it seems very simple and not very technical, and there really is nothing more to add here. However, it is important to be clear from the beginning that you should like the sound that the amplifier offers in relation to the style of music you play.

• A Marshall amp will sound absolutely amazing if the style of music you play is similar to that of Van Halen, Cream, or AC / DC.
• A Fender amp will sound great if you get closer to the style of Stevie Ray Vaughan, Jerry Garcia, or Dick Dale.
• The best way to determine what an amp sounds like is by plugging in your guitar. If you're little more than a newbie and aren't confident in your abilities but want an amp to grow up with, have someone from the store use it for you. The bottom line here is how amp "a" sounds compared to amp "b", so do your best to get a good comparison.

Step 2. Assess your needs

Amplifiers are rated by voltage rather than physical size (although higher voltage amplifiers tend to be physically larger).

• Low Voltage Tube Amplifiers they will tend to create harmonic distortions at low volumes, which is preferable in rehearsal, studio, and microphone-amplified presentations.
• High Voltage Tube Amplifiers they will distort at higher volumes, requiring more creativity in the mix for live performances.
• Voltage has an effect on both actual and perceived volume. In general, it takes 10 times the voltage of an amplifier to double the perceived volume. For example, a 10-watt amp will sound half as powerful as a 100-watt amp.
• The voltage and cost of an amplifier are rarely related, so a 10-watt amplifier can be two, three, or even ten times more expensive than a 100-watt one, depending on the quality of the components and the design. A 100 watt transistor amp is cheap to produce compared to a homemade 5 watt tube amp.

Step 3. Understand what defines the overall tone of an amp

The sound quality experienced in an amplifier can be determined by many things, including (but not limited to):

• the tubes used in the pre-amp
• the valves used in the power stage
• the wood used in the display
• the cone type of the speakers
• speaker resistance
• the guitar used
• the cables used
• the effects used
• the guitar pickups
• even the musician's fingers.

Step 4. Know the categories

There are two main categories of guitar amp setups: combo and head / cabinet.

• Combo (combination) amplifiers mix electronic amplifiers with one or more speakers in one piece. They are usually smaller, as combining a powerful headstock and a pair of large speakers can quickly land you in the "weightlifting" category.

  

• The head / shield arrangement solves the weight problem by separating the speaker shield and amplifier head. The heads can be stand-alone units that normally sit on top of the cabinets, or they can be mounted on shelving units (racks), which is great for touring but more complex for the guitar signal chain.

  

Method 2 of 6: Tube and Transistor Amplifiers

Step 1. Compare tubes versus transistors

There are notable differences between the two styles of amplification. Tube amps use tubes in both the preamp and power amp stages, while transistor amps use such transistors for all stages. This can result in very different types of shades and usually does.

• Transistor Amplifiers They are known for delivering bright, clean, and accurate sounds. They respond quickly and are much stronger than tube amps - think about the difference between a normal bulb (valve) and an LED type (transistors). Throw them both on the ground and you will have to sweep one of them with a broom and dustpan! Additionally, with advances in technology, many transistor amps are being added a wide range of modeled amp sounds, giving you plenty of versatility.

  

• Transistor amps from the same manufacturer tend to sound the same, which can be beneficial when you need a reliable, repeatable tone. They are also noticeably lighter, both in weight and size, than their valve brethren.
• This versatility and robustness outweighs a less warm tone. While this is an entirely subjective criticism, there are some differences that support this idea: When we use distortion, the waveform of a transistor amplifier shows a saturated waveform and harmonics that remain strong throughout the entire listening range. In comparison, a distorted tube amp has a smooth wave and harmonics that fit well into the listening limits, this being the famous warmth of tube amps.
• Tube amps they have something special that cannot be measured and makes them the most popular type of amp. The sound of the tube amp has been described as "thick", "creamy", "fat" and rich - adjectives that would fit more if amps were food!

  

• Tube amps can vary slightly in tone from amp to amp, and certainly from musician to musician. For some musicians, "their" amplifier is the one that, in conjunction with their guitar, defines their sound.
• Tube distortion is the smoothest and most enjoyable to listen to. When forced, it adds a touch of compression and rich sound to dynamics that only tubes can deliver.
• Tube amps can be much more powerful than transistor amps. A 20-watt tube amp can easily sound as powerful or more than a 100-watt transistor amp.

Step 2. The disadvantages of tube amps are generally more related to practicality than sound

A tube amp, especially a large one, can be very heavy - a very big minus if you have to regularly carry your gear up three flights of stairs!

• Tube amps are also more expensive, both to purchase and to maintain. A transistor amplifier is just there. Unless a powerful power surge occurs, your tube amp will sound the same year after year. However, the valves (similar to bulbs) wear out over time and will need to be replaced. The valves are not terribly expensive, but it will be an annual expense (depending on how much you use it).
• Tube amps rarely include an effects emulator. You will need pedals for this kind of thing. However, tremolo and reverb are often incorporated into the design of these amps.

Step 3. Beware of stereotypes

While it's good to know the pros and cons of both types of amps, it's not always the case that "tubes are good, transistors are bad." Studies have revealed that when played without distortion, tube and transistor amps are virtually indistinguishable.

Method 3 of 6: Combo Amplifiers

Step 1. Evaluate the options for combo amps

Here are some of the most common configurations for combo amps:

• Micro amplifiers: 1 to 10 watts. These small and very handy amps are very useful for practicing anywhere (or when others are trying to sleep). They are not loud enough to be used in most improvisations (where you need to be heard alongside other musicians). As a rule, their sound quality tends to be poor (compared to larger amplifiers). Due to the low power output and poor quality of the circuits and they are not suitable for professional presentations. The Marshall MS-2 is an example of a very manageable (1 watt) micro amp that has received good reviews for a transistor amp of this size.
• Practice amplifiers: 10 to 30 watts. Practice amps also fit in environments such as a bedroom or living room, although their power can be used for small concerts (performances), especially if one is used miked with the local sound system. Practice tube amps that sound good or better than many larger amps include the Fender Champ, Epiphone Valve Junior, and Fender Blues Junior. As a general guideline, the best amps in this category are between 20 and 30 watts with a cone of at least 10 inches.
• Full-size 1x12 combos: With 50 watts of power or more and a cone of at least 12 inches, 1x12 amps offer the smallest option that is considered suitable for small gigs without the use of a microphone. For high-end models, such as those made by Mesa Engineering, the caliber of sound quality is completely professional.
• The 2x12 combos they are similar to the 1x12, with the difference that a second 12-inch cone is added. The 2x12 design is considerably larger and heavier than the 1x12, but it is still the favorite choice of musicians for small to medium sized venues. The inclusion of a second cone allows for some stereo effects, plus two cones will move more air than one (giving more "presence" to your sound). One of the favorites in this category is the Roland Jazz Chorus, which features a distinctive, stereo, clean sound, as well as onboard effects.

Step 2. Make a note:

small combo amps give better results in studios. For example, if you'd like to know what a small 5-watt Fender Champ amp sounds like in the studio, listen to Eric Clapton's guitar on "Layla"!

Method 4 of 6: Amp Heads, Cabs, and Stacks

Step 1. Explore the options for stacked heads, cabinets, and amps

While combo amps are great for all-in-one solutions, many musicians prefer to customize their sound. You might like the sound of a Marshall cabinet connected to a Mesa Engineering headstock. Others may not be as specific with the screens, but they want to have a lot of them to create a powerful wall of sound that fills the stage.

Step 2. Learn the lingo

A "head" is an amplifier without speakers. A "screen" is a separate speaker, which can be connected to a head. A "stack" is a head and a set of screens connected together, ready to play.

Stacks are preferable for concerts rather than rehearsals, although there is no rule that prevents you from having huge stacks of screens in your living room if your family allows it. A word of warning: in most cases, they won't let you down! Display stacks are physically very bulky, heavy and with devastating power. These tools are for musicians playing in large venues

Step 3. Connect them

Although the heads are usually the same size, they have a wide variety of voltages. Small heads are between 18 and 50 watts, while more powerful heads are typically 100 watts or more. There are also super heads, which boast a noisy power ranging from 200 to 400 watts.

• For performances in small to medium-sized venues, a small head is more than enough. The smaller heads are typically connected to a single 4x12 screen (four 12-inch speakers, as the name suggests). This type of setup is known as a half stack and is a favorite with most musicians.
• Before buying a medium stack, keep in mind that they are very large and very powerful for most venues and small stage venues (that is, most concerts where you normally play), they are difficult to transport in any vehicle more Small than a van or truck, your groupmates will not help you place it on stage and will cause you to suffer permanent hearing damage if you do not wear earplugs. This configuration offers a lot of volume and the presence of four speakers. Use the heads (amplifier) used by professionals.
• A full stack (or complete stack) is the dream of many guitarists (although you will be frowned upon by the sound technician and everyone on stage with you). Typically mixes a head of at least 100 watts connected to two 4x12 displays. The screens are placed vertically (one on top of the other), giving the configuration its distinctive name.
• A full stack is as tall as a grown man, offering an impressive sight. The sound is equally impressive. A full stack is too bulky for all but the largest enclosures, and even there the technician will have to mike it, so you're never really going to use it by itself. Most professionals will prefer to use two medium stacks in stereo rather than touring with a full stack.
• Guitarists who are truly sadistic (in a sonic sense), as well as heavy metal musicians, can fit a 200-400 watt super headstock into a full stack. You will need to wear hearing protection with any full battery (especially the hot rod settings, the most powerful), if you want to play at the highest volumes without potential hearing damage.
• The full stacks that you see at most concerts are used as stage tricks. Typically only one of those screens has built-in speakers, and the rest are there for the show. Mötley Crüe uses fake screen grilles and black cloth to make it look like the stage is filled with stacks of amps!

Step 4. Follow the pros

Most professionals use 2x12 or medium batteries because the sound is easier to control. If you really want a full stack, by all means get one, but you'll hardly ever use it unless you're doing a stadium tour. They are too big to be practical.

Method 5 of 6: Rack Mounted Products

Step 1. Mount everything on shelves

Many musicians use bookshelf equipment, usually metal braced boxes with removable front and back panels. The front of the shelf, when open, has two vertical rows of tapping screws 19 inches apart on the sides: the shelf for mounting the equipment.

• As a head and cabinet setup, a rack mounted guitar amp separates the amp components and the speaker cabinets. However, shelf heads can be divided into two categories: the pre-amp and the power amp. Both heads and combos have these components, but shelf units make them more practical by using them as separate items.
• Most amp manufacturers, including Marshall, Carvin, Mesa-Bogogie, and Peavey, make shelving amp rigs.

Step 2. The pre-amp

This is the initial phase of amplification: in its basic form, a pre-amplifier amplifies the signal in order to effectively reach the power stage phase. The best pre-amps incorporate various tone enhancement options, including EQ, various tube settings, and more.

Step 3. The power stage

This is connected to the pre-amplifier, takes the modulated signal and gives it the necessary power to make the speakers vibrate. Like the heads, the power stages are available in many sizes, from a low of 50 watts to a monstrous 400 watts.

The power amplifiers (as many as you like) can be daisy-chained or through different pre-amplified outputs to increase the signal strength, offering the possibility of mixing the tone influences of two different power units

Step 4. Disadvantages of shelving platforms

As surely you have been told, the shelves are very complicated platforms. A novice guitarist will feel lost. They are also heavier and bulkier than the headers, adding to that the bulk and weight of the shelf itself. As soon as you need to buy multiple products and accessories, the price of a new shelf can be (but not always), higher than that of the heads.

Step 5. Get a head start

A shelf allows you to mix and match products from different manufacturers and find your signature shade! In addition to the pre-amp and power amp there are many great products that can be mounted on the same shelf with your amp (reverbs, delays, EQs and other sonic wonders).

• Racks often have caster wheels, making them easier to transport, and it can also simplify setup: your components are always ready to be plugged in as soon as you drop them on the stage and turn them on.

  

• Lastly, shelving is rare and will attract attention. People will be impressed if you take your bookshelf to a rehearsal or performance, but be careful, they will expect you to be an experienced guitarist, or at least capable of using your bookshelf. Don't take it anywhere unless you know how to make those pre-amps and processors do exactly what you want them to do. Great professionals like Robert Fripp, The Edge, and Kurt Cobain use this type of setup.

Method 6 of 6: Choosing the Right Sound

Step 1. Understand how different types of amps fit into different styles of music

In most cases, amplifiers are not a "one-for-all". Although there are all kinds of amps, they can be classified into two broad categories: "vintage" (or antiques) and "high gain" (high gain).

Step 2. Choose the amp according to the job

Every rock style has distinctive amps. Here are some general lines:

• Vintage (or antique) amps produce the classic sound of early amps. For jazz, blues, or blues-rock guitarists, the vintage sound is widely considered the most appropriate for their style. These amps can be really antiques, but there are also modern ones that mimic the vintage touch. The sound of Fender, Vox, Marshall, and similar amps from the 1950s, 1960s, and early '70s is the foundation for this vintage tone. When you think of "vintage", you will think of Hendrix, Led Zeppelin, Eric Clapton, Deep Purple, etc. Those were the sounds that started it all.
• High-gain amplifiers they produce a sound with greater distortion than that of older amplifiers. Although there is debate about the evolution of this type of amplifier, many believe that much of its history belongs to Eddie Van Halen. Van Halen actually knew very little about electronics (he has admitted that is why his guitar was rigged in that strange way), and he only got his high gain sound by turning all the knobs on his amp all the way up, controlling the volume with a variable transformer, which lowers the amplifier voltage. With his famous "eruption" solo in 1977, Van Halen introduced the loud, booming sound of an amp driven to full tube saturation. Amplifier manufacturers try to emulate that sound at lower volumes by adding extra gain stages to the preamp in their designs, thus allowing for higher tone gain at controlled volumes. Higher-earning amps were needed as heavy metal evolved. For the hard rock and heavy metal of the early '80s and later, classic amps were replaced by their modern high-gain counterparts.
• If you want to play jazz, blues, blues-rock (in the style of Led Zeppelin) or the most primitive heavy metal (in the vein of Black Sabbath), a low-gain tube amp will be your best choice. If you prefer to play hard rock, 80s metal, and shred your guitar (in the style of countless 80s guitar heroes), you will probably want to use a high gain model. You should know that many new amps can deliver both high gain sounds and classic sounds, although purists think that the only vintage amps worth your time are the really old ones.
• Amp modulation technology (which allows you to simulate the sound of very different amps) is a relatively recent development that has both proponents and critics alike, although most people think they sound really good. Modulated amps can be very useful, although if you are a purist, nothing can compare to a real Fender Twin Reverb, an old Marshall "Plexi" headstock or something similar.

Advice

• If you buy a tube amp, try not to physically abuse it. Generally, transistor units are designed to take a lot of punishment, but tube amps are much more delicate. If your new (and very expensive) Soldano tube head falls down a flight of stairs, you're probably in big trouble, whereas if the same thing happens to a transistor combo the result will be nothing more than a moment of panic and some laughs (after all). If you're wondering if that much warning is necessary, you probably haven't spent a lot of time with rockers.
• For most guitarists, a 30-watt amp will be more than enough for a room, a rehearsal, or a small concert.
• Unless you play real black metal, it is usually better to buy a smaller amp with a good tone than to buy a powerful one that sounds ugly. You will never regret having a nice tone, but you will always have a bad tone. Some music stores will try to sell newbies a powerful amp with a multitude of effects, don't fall for that. Use your ears and choose an amp whose tone you absolutely love, don't spend the money until you find it.
• If you buy a transistor amp, be careful not to overload it too much. Don't be afraid to turn the gain up to 10, but be careful when placing a booster effect before the amp. If you buy a tube amp, amplify the signal before the amp as much as you like, since tubes can handle ridiculous amounts of overdrive without a problem.
• Always try before you buy. Most music stores will be happy to serve you, and if they are not, choose to go to another nearby store where they have the same product. Reading reviews is not as good a thing as testing the amp for yourself. Take your guitar to the store, and your own cable, and ask if you can try some amps. Most stores will let you do it. If not, they are not worth it and go to someone else.
• If you need an amp that can do it all, consider purchasing one of the newer models with built-in effects. The great thing about these amps is that they can reproduce the sound of many other units quite accurately, and you will have instant access to a whole chain of effects, including delay, chorus, flanger, reverb, etc. Line 6, Crate, and Roland (among other companies) make good combos.
• When you're shopping for an amp, price shouldn't be the only thing to consider. Some cheaper amps offer admirable sound, while you can find more expensive ones that don't fit your needs. To judge the quality, read user reviews on various guitar websites.

Warnings

• Never play with a tube head unless it's plugged into a speaker with no speaker load, as you will damage the amp.
• Be wary of vendors and equipment, like Musician's Friend, as they post what appear to be reviews but are actually paid ads designed to increase product sales. Do your research and make an informed decision.
• Buying a large combo or (especially) a stack to use at all hours in your living room can lead to divorce. So much will happen if you spend $ 2,000 on an amp without checking with your wife.
• Keep the volume low when rehearsing at home. Wearing helmets can be a great idea. Likewise, if your plan is to install a huge pile of Marshalls in your garage for rehearsal, make sure it's insulated. Your neighbor doesn't want to have Black Sabbath's "War Pigs" rattling his windows and pictures on a Saturday night.
• If you play too loud and continuously use distortion, make sure your speaker or speakers are designed to handle it.