Volume doesn’t equal TONE.

So when a person asks about volume, I immediately ask if they mean tone, sound, etc… I use action words like those to dial in what they mean, because often we think Volume = Tone which isn’t true at all.

But, this helped me get over the need for a 100w, and solved my problem about what to buy for an in between amp for off stage and one that could be mic’d through a PA and decided on a 40w amp.

40w for guitar
25w for bass

I have used 10w and 15w amps but honestly, yes they are loud- but then you have horrible tone.

Use that to help narrow your search for an amp.

Big sound can come in a pretty cool and small package!

You may need to make sure your gear is set up properly.

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I have a Fender Super Champ XD, 15W, 1×10″ which I plug on a Marshall 4×12″ cabinet when needed. I like playing jazz and funk/disco sounds. It sometimes overdrives a little when using high-output pickups, but not enough to give a tube screamer feel.

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Only reason to go for another amp is more knobs. This has a volume and a tone knob. And it doesn’t look as awesome as a head on top of two 4×12’s 🙂

http://www.theguitaramp.net

Yes, you can pull two power tubes from a typical 100 watt amp and run it at 50 watts. Follow the amp’s manufacturer’s recommendations. However, this will not result in a significant drop in volume. In fact, you may not notice the volume difference. As the article explains, increasing or reducing power by 1/2 results in only a 3 dB change in volume at any given setting on the volume knob. Some people’s ears are sensitive enough to hear that, others aren’t.

Take my amp, the Trace Elliot 350, one of the last of the great Brit Trace bass amps. Is it a back breaker? yep. Do I EVER get to turn it up past 4? Only once when I was playing an outdoor concert and some of the channels fried on the mixer. Would I give it up for a 50 watter? NEVER, because even on 3 my tone is so thick and warm that I have played with it against Ampeg SVT tube stacks and ended up with the stack owner selling his SVT and getting a copy of mine, its THAT good. The reason is the bigger ones have better speakers with heavier magnets, better cabinets with thicker wood and better porting, they simply put more love and care into the big ones.

Does this mean you can’t make a good 30w bass amp? Nope, I’m sure its possible, but the only ones I’ve seen that didn’t sound like trash were frankly more expensive than a Marshall stack. We bass players simply can’t get a good nice clean fat tone out of a 30w-50w amp because no builders make ’em except for a few exotics that cost frankly exotic money. I have had guitarists that sounded great through a $300 low watt Fender, if we bass players try that we end up with pre-amps that distort, cheap speakers that sound like a busted car stereo, and EQs that give you less control than an MP3 player.

One could argue that its a “chicken or the egg” kinda deal but until we can find truly good clean sounding 50w bass amps for an affordable price you can expect us bass players to keep our monsters, better to have a back ache than a lousy tone.

this also brings up another interesting point that a lot of people STILL aren’t aware of…many bands (especially back in the 70’s and 80’s) mic’d up smaller combos offstage. they’d have stacks of dummy cabs and heads onstage (some even had working pilot lamps) simply for looks. this way they could really crank up the low-wattage tube amp offstage and get that tube saturation without completely destroying their hearing (and i’m not even exaggerating: 10 or 12 100w Marshalls, turned up full volume would EASILY surpass the pain threshold and cause serious hearing damage within seconds.)

with the advent of good speaker simulators (like Palmer DI’s and H&K RedBox’s), you can certainly crank up a 50- or 100-watt head to saturation, send the signal to the PA, and then a passthrough, lower-volume signal to a cab for on-stage monitoring (Alex Lifeson has been doing this for quite a while now, and his live tone is still incredible.) i worked at Red Rocks a few years ago, and i think people would be surprised just how low the on-stage volume really is these days (and that goes double if they’re using in-ear monitors.)

one of the rigs i saw at Red Rocks that surprised me the most was Billy F. Gibbons: that 3-cab stack on stage? it’s for show. he runs through a rack offstage (IIRC, he was using a JMP-1 for his preamp.) it’s been a few years now, and i only got to talk to his tech for a couple minutes, and i think Billy MIGHT have had one cab hooked up onstage as a monitor, but most of his sound is going pretty much straight into the PA. his reasoning was that Billy wants all of his guitars to sound basically the same, regardless of what make, model or pickup config they have and it was way easier to do that with a rack pre than carrying tons of different amps out on tour. i thought for sure that if there was one person who still used a cranked tube stack on stage it would be BFG, but nope!

the nice thing about low-wattage amps is that you can still crank them to get tube overdrive, but it’s far more controllable. plus, they’re cheaper to maintain (less tubes to replace) and they weigh a LOT less

Without dynamics, however, most rock ‘n roll does tend to sound one dimensional. That’s where having the headroom needed to make your guitar sound good no matter what the volume level comes in so handy.

So then it comes down to whether you want to sound good at any volume level, or take out the back wall of the venue you are playing in.

Me, I have a Randall RG120ES, a Bugera V22, a Peavey Classic 50, a Marshall 15 watt mini stack and a Peavey 110 Audition. Each has it’s own tone, and each does it’s thing magnificently. It really doesn’t matter solid state or tube, it’s what’s coming out of the speaker that counts.

Speakers are another matter altogether and can also take reams of paper to discuss.

In the end, I love to play, acoustic or electric, just put a guitar in my hands and I am happy as a pig in mud. LOL!

Rock on,

steve

and i agree with josh too .. it seems that the idea of smaller amps is finally catchin on and now its the prefered method for most guys .. took quite awhile to get em here but they’re commin .. but its also raisin the price of the smaller amps ..

and jim too .. i still remember the days movin an ampeg 8×10 bottom all around .. eeeeeee.. who the hell wants to do that nowadays .. i’m getin way to old for that shit ..

My latest purchase is a 59 Gibson G5, the Champ killer, and mic’d, I would put it up against anything. I can get the tones I want without hurting myself too badly.

Also – it’s kind of like enjoying the power tube types – that’s why attenuators are such a big deal these days – get the tone 6L6’s or EL34’s give you that EL84 just can’t.

Wasn’t it the band Kiss that had the walls of Marshalls out front, turned on, but turned all the way down, and in the back was a Champ being mic’d. The Marshalls were just for show! The mic’d Champ was what the crowd was hearing.

Mixing boards and PA’s have made big, heavy amps unnecessary even in the largest venues. And just think how many classic records have been recorded from a cranked and mic’ed Fender Champ!

anyway, yes i have been looking for a good low wattage amp for a while now. in need of a mellow but gently sweet clean, not much head room required for the size room (ok big closet) i practice in…but can growl a little when i get tired of scales et al. and way too tired of ringing ears from working the tubes to get into the sweet spot.

Here’s the thing though; low wattage amps are becoming (unless they’ve always been that way) quite expensive. I’d love to have a nice silverface princeton reverb, but my twin was $400, and the former is $800 if you’re lucky. Doesn’t make any sense to me, but that’s what I’ve observed in the market.

I now think a really ideal setup is to have a 5 watt, class A combo amp with a small speaker for home practice, along with a high-power speaker in an extension cab if more volume is ever needed. Admittedly, even this might be overkill as long as a good P.A. is available.

I also wonder why more amp builders don’t experiment with combining two very different speakers in one cabinet, maybe allowing their outputs to be mixed together to produce a balance of speaker breakup with clear tones. I guess this might be tricky to pull off, but it seems like something worth exploring.

Any takers?

I hung on to my GT Electronics Solo 75 though, el34 tubed it gets me a faily Marshall grind, way better cleans and hits it’s sweet spot at about 10 watts rms but enough headroom for the rare occasions I play with a loud drummer.

For my one man show (vox and rhythm and lead electric guitar live with back trax burned to cd including bass, drums, keys, stereo acoustic guitar and back vox) it’s either a Rebel 20 attenuated or a Lexicon Signature 284 (3 watts). Cab is loaded with a Reignmaker (attenuable speaker) for even more control.

Both the baby amps give great feedback at lower volumes, I mike the cab and give the front whatever volume it wants
whilst not blowing my ears out.

The one man thing provides appropriate low or high volume for tiny to medium venues, and no “echoes of the amplifier ringin’ in my head”

I think the best of both worlds is to own a great 50 watt amp and a great 3 to 5 watt amp, for recording ISO cab is good to have and Reignmakers are a good plan too.