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igital emulations of speaker cabinets and microphones irs allow for easier home recording letting players skip the use of physical cabinet setups while still using a tube amplifier 6 alongside the development of modelers smaller lunchbox amplifiers amp heads that use metal cases and a low output power stage have become popular following the success of the 15 watt orange tiny terror released in 2006 18 boss debuted its katana line of analog digital hybrid amplifiers in 2016 and it became the industry s bestselling amp line 19 as digital signal processing technology has progressed modelers have become more compact and inexpensive with budget offerings from brands like mooer nux and joyo many brands now incorporate ai and machine learning into their products and design process 17 one such company neural dsp established itself through audio plug ins that create computer based virtual amplifier and effects modelling suites neural released their first piece of hardware the quad cortex in 2020 20 structure edit format edit fundamentally guitar amplifiers function by taking the signal generated by an electric guitar s pickup s and feed it through an electronic circuit in which the tone is shaped and amplified before being projected through one or more loudspeakers 21 an amplifier in which this entire process happens inside a single enclosure is referred to as a combo when the tone shaping and amplification occur inside a dedicated unit that requires a separate speaker cabinet it is known as a head 21 most amplifiers utilize a tone stack that consists of controls to individually adjust bass midrange and treble frequency levels reverb is a commonly included effect for models that use vacuum tubes the specific tube types used and the number of them have a significant impact on the amp s tone and ability to create distortion 21 many amps are designed with two or more selectable channels which allow for different volume distortion and equalization settings control layout edit the control panel of a bogner shiva amp head control knobs and buttons are typically located on the front of an amp s chassis common front panel controls include those for preamp volume or gain bass middle and treble frequency adjustments and master volume amps with more complex feature sets can also include presence and resonance controls or even a graphic equalizer as in the mesa boogie mark series these tone controls can be passive or active passive tone controls use parts like resistors and capacitors that do not require additional electric power and can only cut selected frequencies active tone controls can cut or boost frequencies but use parts like transistors and op amps that require external power to operate 22 guitars are connected to the amp via one or more 1 4 jacks back panel features include connections for the external speaker cabinets and optional features like an effects loop power attenuation headphone use and direct recording preamp and power amp edit the electronic circuit of a guitar amplifier can be divided into two sections the preamp or preamplifier receives the initial input signal from the guitar and is responsible for the amp s tone shaping and equalization controls 23 the amount of amplification applied to the incoming signal known as gain affects the amp s volume but to a greater extent affects its preamp distortion the power amp then receives the processed signal and amplifies it to the player s desired output level via the loudspeakers wattage is used as a measurement of how much power an amp can produce 23 for the first several decades of their use guitar amplifiers almost exclusively used vacuum tubes in both the preamp and power amp sections the 12ax7 is the most common preamp tube while power amps utilize el34 el84 6l6 or 6v6 tubes among others tubes are also sometimes used for rectification which convert ac power to dc and impart their own tonal character solid state amplifiers replace these tubes with diodes and transistors 23 power output edit the relationship between power output in watts and perceived volume is nuanced generally speaking more wattage equates to more volume but there can be a significant difference in perceived volume depending on the nature of the power amp tube based power amps for example will seem louder than their solid state counterparts at a given wattage with a 10 to 15 watt tube amp being roughly equivalent in volume to a 50 watt solid state amp 23 among tube amps however there is not a significant difference in maximum volume based on wattage as measured in dbs a 100 watt tube amp is not significantly louder than a 15 watt tube amp the major difference is instead in headroom or how loud an amp can be set before it starts to distort with the 100 watt amp being able to stay cleaner at much louder volumes than the 15 watt amp 24 for many players though the output level setting is chosen not purely for reasons of volume but also for the perception that tube amps often sound their best at specific volume settings that strike a balance between driving the preamp and power amp while preserving the dynamics of a guitarist s playing 24 distortion edit distortion or overdrive is an important characteristic of most guitar amplifiers distortion can be produced in either the preamp or power amp or both early amplifiers like the 100 watt marshall super lead used a single volume control to control the amp s overall output volume distortion was produced by increasing that volume control to overload the amp s power amp tubes which often required extremely high volumes the more volume the more distortion generally distortion is more associated with tube amps which have less headroom than solid state amps and are considered to have a more pleasing overdriven character 24 most modern amplifiers use two volume controls an initial volume control often labeled preamp or gain that affects the level of the input signal and then a master volume control placed at the end of the circuit after the power amp tubes allowing for level attenuation before the signal is sent to the loudspeakers a master volume allows distortion to be produced by pushing the preamp and or power amp into distortion before the output level is then set to the player s desired overall volume conversely amps like the soldano slo 100 produce distortion solely in its preamp allowing for significant levels of distortion at any volume 25 preamp gain is often preferred for its added compression and harmonic overtones 24 high gain edit amplifiers designed to produce heavy amounts of distortion for genres like hard rock and metal are often referred to as high gain early amps like the super lead could produce distortion and saturation but proved unsatisfactory as much of rock music became more aggressive into the 1980s and beyond master volumes were an important factor in the development of high gain tones as was mesa boogie s pioneering of cascading preamp designs in which multiple gain stages arranged in series would spill over one into the next as the preamp gain control is increased allowing for unprecedented amounts of distortion 26 high gain abilities are now considered a definitive quality of modern amplifiers 6 in popular culture edit the original up to eleven knobs in the 1984 film this is spinal tap volume control gradations are typically numbered from zero to ten in the 1984 film this is spinal tap guitarist nigel tufnel demonstrates an amplifier with volume knobs marked from zero to eleven believing that this numbering increases the highest volume of the amp he explains it s one louder isn t it this misunderstanding of the underlying operating principles led to the idiom up to eleven also phrased as these go to eleven as a consequence of the film real bands and musicians started buying equipment whose knobs went up to eleven or twelve cabinet design edit back view of a mesa boogie lone star combo partially showing its pair of 12 speakers combos and external speaker cabinets required for use with heads come in a variety of configurations combos often use one or two 12 speakers or between one and four 10 speakers smaller practice amps often use even smaller speakers standalone cabinets paired with heads typically use up to four 10 or 12 speakers several different designs can used including an open back design a closed back design essentially a sealed box and the less common bass reflex design which uses a closed back with a vent or port cut into the cabinet 27 with guitar amps most open back amp cabinets are not fully open part of the back is instead enclosed with panels combo amp cabinets and standalone speaker cabinets are typically made of plywood some are made of mdf or particle board especially in low budget models 27 cabinet size and depth material types assembly methods type and thickness of the baffle material the wood panel that holds the speaker and the way the baffle attaches to the cabinet all affect tone 27 when two or more speakers are used in the same cabinet or when two cabinets are used together the speakers can be wired in parallel or in series or in a combination of the two e g two 2x10 cabinets with the two speakers wired in series can be connected together in parallel whether speakers are wired in parallel or in series affects the impedance of the system two 8 ohm speakers wired in parallel have 4 ohm impedance guitarists who connect multiple cabinets to an amplifier must consider the amp s minimum impedance parallel vs series also affects tone and sound speakers wired in parallel slightly dampen s and restrain s them giving what some describe as tighter response and smoother breakup some describe speakers wired in series usually no more than two as sounding looser giving a slightly more raw open and edgy sound 27 stacks edit a 3 6 stack of mock marshall guitar cabinets for jeff hanneman of slayer when an amp head is placed atop a speaker cabinet it is sometimes referred to as a stack a head placed atop a single speaker enclosure is called a half stack when two speaker cabinets are used it is known as a full stack in the case of full stacks the upper cabinet often uses a partially angled front while the lower cabinet uses a straight front stacks were popularized by marshall in the 1960s the brand initially paired their amp heads with a single cabinet consisting of eight 12 speakers but these were unwieldy and quickly replaced with two cabinets each using four 12 speakers and placed or stacked on top of each other some touring metal and rock bands have used large arrays of guitar speaker cabinets to create an impressive appearance some of these arrangements include only the fronts of speaker cabinets mounted on a large frame 28 types edit vacuum tube edit main article valve amplifier four electro harmonix kt88 power tubes vacuum tubes called valves in british english were by far the dominant active electronic components in most instrument amplifier applications until the 1970s when solid state semiconductors transistors started taking over transistor amplifiers are less expensive to build and maintain reduce the weight and heat of an amplifier and tend to be more reliable and more shock resistant tubes are fragile and they must be replaced and maintained periodically as well serious problems with the tubes can render an amplifier inoperable until the issue is resolved while tube based circuitry is technologically outdated tube amps remain popular since many guitarists prefer their sound 29 tube enthusiasts believe that tube amps produce a warmer sound and a more natural overdrive sound solid state edit most inexpensive and mid priced guitar amplifiers are based on transistor or semiconductor solid state circuits which are cheaper to produce and more reliable and usually much lighter than tube amplifiers 29 solid state amps are less fragile than tube amps high end solid state amplifiers are less common since many professional guitarists favor vacuum tubes citation needed some who jazz guitarists favor the cleaner sound of solid state amplifiers only a few solid state amps have enduring attraction such as the roland jazz chorus 29 30 31 solid state amplifiers vary in output power functionality size price and sound quality in a wide range from practice amplifiers to combos suitable for gigging to professional models intended for session musicians who do studio recording work hybrid edit a hybrid amplifier involves one of two combinations of tube and solid state amplification it may have a tube power amp fed by a solid state pre amp circuit as in most of the original musicman amplifiers alternatively a tube preamplifier can feed a solid state output stage as in models from kustom hartke swr and vox this approach dispenses with the need for an output transformer and easily achieves modern power levels 29 acoustic edit acoustic amplifiers are intended for acoustic guitars and other acoustic instruments especially for the way these instruments are used in relatively quiet genres such as folk and bluegrass they are similar to keyboard amplifiers in that they have a relatively flat frequency response with minimal coloration to produce this relatively clean sound these amplifiers often have powerful amplifiers providing up to 800 watts rms to provide additional headroom and prevent unwanted distortion since an 800 watt amplifier built with standard class ab technology is heavy some acoustic amplifier manufacturers use lightweight class d amplifiers which are also called switching amplifiers acoustic amplifiers produce an uncolored acoustic sound when used with acoustic instruments with built in transducers pickups or microphones the amplifiers often come with a simple mixer so that the signals from a pickup and a condenser microphone can be blended since the early 2000s it has become increasingly common for acoustic amplifiers to provide a range of digital effects such as reverb and compression as well these amplifiers often contain feedback suppressing devices such as notch filters or parametric equalizers modeling edit main article amplifier modeling a modeling amplifier shown from above note the various amplifier and speaker emulations selectable via the rotary knob on the left microprocessor technology allows the use of digital onboard effects in guitar amps to create numerous different sounds and tones that simulate the sound of a range of tube amplifiers and different sized speaker cabinets all using the same amplifier and speaker these are known as modeling amplifiers and can be programmed with simulated characteristic tones of different existing amplifier models and speaker cabinets even microphone type or placement or dialed in to the user s taste many amps of this type are also programmable by way of usb connection to a home computer or laptop 29 line 6 is generally credited with bringing modeling amplification to the market 32 33 modeling amplifiers and stompbox pedals rackmount units and software that models specific amp...
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