The guitar amplifier amp is an electronic device or system that amplifies weak electrical signals from pickups on electric guitars, bass guitars, or acoustic guitars so as to produce sound through one or more loudspeakers, which are usually housed in wood cabinets. A guitar amplifier can be a stand-alone wood or metal cabinet containing only a power amplifier (and preamplifier) ​​circuit, which requires the use of a separate speaker cabinet-or perhaps a combo amplifier, containing amplifiers and one or more speakers in the wood cabinet. There are various size and power ratings for guitar amplifiers, from small, lightweight "reinforcement exercises" with one "6 speakers and 10 amp amp amp amps with four 10" or four 12 "speakers and 100 watt strong amplifier, for use in nightclub or bar performance.
The guitar amplifier can also modify the tone of the instrument by emphasizing or eliminating certain frequency presses, using equalizer controls, which work in the same way as bass and treble keys on home hi-fi stereos, and by adding electronic effects; distortion (also called "overdrive") and reverb is generally available as a default feature. The input of modern guitar amplifiers is 1/4 "jack, which is signaled from an electro-magnetic pickup (from an electric guitar) or a piezoelectric pickup (usually from an acoustic guitar) using a patch cable, or wireless For electric guitar players, their guitar amp options and settings which they use on the amplifier is a key part of their signature tone or sound. Some guitar players are old users of certain amp brands or models. The guitarist can also use an external pedal effect to change their tone sound before the signal reaches the amplifier.
Video Guitar amplifier
History
In the 1920s, it was very difficult for a musician to play a pickup-equipped guitar to find amplifiers and speakers to make their instruments harder because the only speakers that could be purchased were "radio frequency limited horns and low acoustic output". Conical speakers, widely used in the 2000s era cabinet, are not offered for sale until 1925. The first amplifiers and loudspeakers can only be powered with large batteries, which make it heavy and heavy to carry around. When the engineers developed the first major AC amplifiers, they were soon used to make the instrument louder.
Engineers created powerful first loudspeakers and loudspeakers for public address systems and cinemas. The large PA system and cinema sound system are very large and very expensive, so it can not be used by most of the tour musicians. After 1927, a smaller, portable AC powered PA system that could be plugged into a regular outlet "quickly became popular with musicians"; indeed, "... Leon McAuliffe (with Bob Wills) is still using a portable carbon mic and PA at the end of 1935." During the late 1920s to mid 1930s, small portable PA systems and guitar combo amplifiers were quite similar. The initial amp has a "one volume control and one or two input jacks, a coil speakers field" and a thin wood cabinet; amazingly, this early amp has no tone control or even an on-off switch.
In 1928, the company Stromberg-Voisinet was the first company to sell loudspeakers and electrical amplifiers. However, musicians find that the amp has "unsatisfactory tone and volume, [and] dependency problem", so the product does not sell. Although 'Stromberg-Voisinet' is not selling, it still launches a new idea: a portable electric appliance with speakers, all in an easily transportable wooden cabinet. In 1929, Vega electricity launched a portable banjo amplifier. In 1932, Electro String Instruments and amplifiers (this is not the same company as Stromberg Electro Instruments) introduced a guitar amp with "high output" and "string pickup magnets". Electro sets the standard template for combo amplifiers: a wooden cabinet with built-in electronic amplifiers, and a comfortable grip for easy carriage of the cabinet. In 1933, the Vivi-Tone amp setting was used for live performances and radio shows. In 1934, Rickenbacker launched a similar combo amp that added a metal corner shield to keep the angle in good condition during transport.
In 1933, Dobro released an electric guitar and an amp package. Combo amps have two speakers 8 • Lansing and five-tube chassis Dobro made two combo amp speakers on the market for 12 years before Fender launched two speakers "Dual Professional/Super" combo amp In 1933, Audio-Vox was founded by Paul Tutmarc, inventor of the first electric bass (Tutmarc instrument did not achieve market success until Leo Fender launched Precision Bass). In 1933, Vega sold pickups and amplifiers prepared for musicians for use with guitars.
In the same year, the Los Angeles-based Volu-Tone company also sold pickup/amplifier devices. Volu-Tone uses "high voltage currents" to sense string vibrations, a potentially harmless approach that does not become popular. In 1934 Dobro released a guitar amp with a vacuum tube rectifier and two electric tubes. In 1935, Dobro and National started selling combo amps for Hawaiian guitars. In 1934, Gibson had developed prototype combo amplifiers, but never them. In 1935, Electro/Rickenbacher had sold more amps and electric guitars than all the electric and electric amps and guitars made from 1928 until the end of 1934.
The first electric instrument amps are not meant for electric guitars, but portable PA systems. It appeared in the early 1930s when the introduction of electrolytic capacitors and rectifier tubes enabled an integrated power supply that could be plugged into a wall socket. Previously, the amplifier needed a lot of battery packs. People used these amplifiers to amplify acoustic guitars, but the first electronic amplification of the guitar became very poplular in the 1930s and 1940s craze for Hawaiian music, which extensively used the reinforced steel-guitar guitar.
In the 1920s, the earliest combo amplifiers had no tone control. Simple first tone controls, especially providing treble adjustments. Limited control, early speakers, and low reinforcement (typically 15 watts or less before the mid-1950s) provide low treble and bass output. Some models also provide effects such as electronic tremolo units. In the confusion of nomenclature, Fender labeled the early tremolo amplifiers as "vibrato" and called the vibrato arm of the Stratocaster guitar a "tremolo bar" (see vibrato units, electric guitars, and tremolo).
Some reinforcing models then include onboard spring reverb effects, one of which is the first ampeg Reverberocket amp.
In the 1950s, some guitarists experimented with deliberate distortion using an overpowering amplifier. These include Goree Carter, Joe Hill Louis, Elmore James, Ike Turner, Willie Johnson, Pat Hare, Slim Guitar, Chuck Berry, Johnny Burnette, and Link Wray. In the early 1960s, rock guitarist Dick Dale teamed up with Fender to produce custom-made amplifiers, including the first 100 watt guitar amplifier. He pushed the limits of power amplification technology, helped develop new equipment capable of producing "thick, clear tones," on "previously unexpected volumes."
Distortion became more popular from the mid-1960s, when The Kinks guitarist Dave Davies produced a distortion effect by connecting the distorted output from one amplifier to another. Then, most of the guitar amps are provided with preamplifier distortion controls, and "fuzz boxes" and other effects units are engineered to produce this sound safely and reliably. In the 2000s, overdrive and distortion have become an integral part of many styles of electric guitar playing, ranging from blues rock to heavy metal and hardcore punk.
Guitar combo amplifiers were originally used with electric bass and piano guitar, but these instruments produced a wider range of frequencies and required a full-range speaker system. More amplifier power is required to reproduce low-frequency sounds, especially at high volume. Reproducing low frequencies also requires appropriate woofer or speaker subwoofers and enclosures, with the bass cabinet often larger than the cabinet for mid-range or high-range sound. In addition, open cabinets used on many electric guitar amps, while effective for electric guitars, do not have a good bass reproduction.
Woofer casing should be bigger and sturdier than cabinet for mid-range or high frequency (tweeter) speakers. Thus, in the 1950s, when Ampeg introduced the amplifier system and the bass speaker, the bass guitarist started using it. Similarly, Hammond's organ player uses a special keyboard combo amplifier, Leslie's speaker cabinet, which contains woofers for low frequencies and horns for high frequencies. Leslie's horns spin and baffles around the woofer also spin, producing a rich tremolo and chorus effect.
Maps Guitar amplifier
Structure
Typically, guitar amplifiers have two-stage circuit boosters and also often have tone-shaped electrical circuits, which usually include at least bass and treble controls, which function similarly to equivalent controls on hi-fi systems at home. The more expensive amplifiers typically have more control for other frequency ranges, such as one or two midrange controls and "attendance" controls for high frequencies. Some guitar amplifiers have a graphical equalizer, which uses a vertical fader to control multiple frequency bands. Some of the more expensive bass amps have parametric equalizer, which allows precise tone control.
The first amplifier stage is the preamplifier. This amplifies the audio signal to a level that can drive the power stage. The preamplifier also alters the signal tone; high preamp setting adds overdrive. The power amplifier generates a high current signal to drive the loudspeaker and produce sound.
Different types of tone stages may affect the guitar signal:
- Settings on the guitar itself (passive tone control, active equalizer circuit in built-in preamps, selector selector switch position, etc.)
- The device between the guitar and the preamp stage, such as the wah-wah pedal or other effect units, such as chorus or reverb.
- Between preamp and power stage (effect loop or some special amplifier tone circuit)
- Among several stages of a stacked preamp (also called "gain stages")
- In the feedback loop of the post-preamp signal to the previous pre-preamp signal (as in the case of attendance modifier circuit)
The tone stage can also provide electronic effects - such as equalization, compression, distortion, chorus, or reverb. Amplifiers can use vacuum tubes (called valves in the UK), solid-state devices (transistors), or both.
Two common guitar amplifier configurations are: a combination ("combo") amplifier that includes an amplifier and one or more speakers in one cabinet, and stand-alone amplifier (often called "head" or "head amp"), which passes reinforced signals through cable speaker to one or more external speaker cabinets. Various loudspeaker configurations are available in guitar cabinets - from cabinets with one speaker (for example, 1Æ' or 10 atau or 12)) "or 8x10").
The guitar amplifiers vary greatly in price and quality. Many music equipment companies import small powered exercise amplifiers for students and beginners who sell for less than $ 50 USD. Other companies produce expensive artificial amplifiers for professional musicians, which can cost hundreds or even thousands of dollars (USD). Most combo amplifiers have a carrier handle, and many amplifiers and combo cabin have metal or plastic reinforced corners to protect the amp during transportation.
Control buttons and buttons are usually on the front of the cabinet or chassis, although in some cases they are on the hidden panel at the rear of the top of the amplifier. The most basic amps have only a few buttons, which usually control the volume, bass, and treble. A more expensive amp may have a number of buttons that control the volume of pre-amp (or "gain"), distortion or overdrive, volume, bass, mid and treble, and reverb. Some older amps (and reissued versions) have buttons that control the effects of vibrato or tremolo. The 1/4 "input jack is usually mounted on the front of the amplifier.On the simplest and cheapest amplifier, this 1/4" jack is the only jack on the amplifier.
More expensive amplifiers may have patch bays for multiple inputs and outputs, such as pre-amp out (for sending to other guitar amplifiers), second low gain input, for use with active bass, an in jack to create loop effects (when used with jack out pre-amp), external speaker output (to turn on additional speaker cabinet), and stereo RCA jack or 1/8 "jack, to connect a CD player or MP3 player so players can practice along with music recording. Some amps have jack 1/4 "to connect the pedal to turn ondrive amps and reverb on and off or to switch between channels. Some amps have an XLR jack for microphones, either for guitar amps to be used for singing (applies as a mini-PA system, or, for acoustic guitars, to mix mic signals with pickup signals.
Most amp guitars can only be powered by AC power (plugging into a wall outlet); However, a small number of practice amps designed for buskers also have battery power so they can be used for street performances.
Type
Amplo combo contains amplifiers and one or more speakers in a single cabinet. In the "head and speaker cabinet" configuration, the amplifier and speakers each have their own cabinet. The amplifier (head) can push one or more speaker cabinets. In the 1920s, guitarists played through the public address booster, but in the 1940s, this was unusual. The rare exception in the 1990s was grunge guitarist Kurt Cobain, who used four PA wattage amplifiers 800 watt early in the set-up of his guitar.
In addition to the instrument input and speaker output (usually through 1/4 "jacks), the amp can have other inputs and outputs, which can include additional input jacks (sometimes with their own level controls, for drum machines)," send "and" back "jack to create a loop effect," line out "jack and an extension speaker jack.Apps practice sometimes has a 1/4" headphone jack, or RCA stereo or mini jack to connect a CD player, portable media player or other sound source. Some guitar amps have XLR inputs so microphones can be installed for singing. The amp guitar that includes the mic input is small, portable PA system. Some amps, usually bass amps, have XLR connectors to provide balanced output from the preamp section to enter the PA system or record inputs.
Amplifier instruments are available in different levels of price, quality, and performance. Some are designed for beginners, such as small, low-wattage practices, which typically have one 8 "speakers and about 10 watts, or smaller" combo "with relatively low wattage (15 to 20 watts ) and one 10 "speakers. Medium to large-sized combos with 30 to 50 watts and one 12 "or 4" speakers are best for high-volume situations, such as band rehearsals and stage performances. For large venues, like outdoor music festivals, guitarists can use one or more 100 watts (or several hundred watts) of heads with one or more 8x10 "cabinets.Some guitar amps are strongly associated with certain instruments or genres, such as Marshall amps. used in heavy metal music.
Vacuum tube
The vacuum tube (called "valve" in English English) was by far the dominant active electronic component in most instrument amplifier applications until the 1970s, when solid-state semiconductors (transistors) began to take over. Transistor amplifiers are less expensive to build and maintain, reduce weight and reinforcement heat, and tend to be more reliable and more shock resistant. Tubes are very fragile and must be replaced and treated periodically. Additionally, serious problems with the tube can make the amplifier unable to operate until the problem is resolved. In the 2000s, high-end tube amplifier instruments (along with a small number of hi-fi power amplifiers used by audiophiles and high-end studio microphone preamplifiers) survived as some exceptions, due to the sound quality they felt.
Tubular fans believe that tube amps produce "warm" sound and a more natural "overdrive" sound. Typically, the amp tube uses one or more double triodes in the preamplifier to provide sufficient voltage amplification to compensate for the loss of tone control and drive the power amplifier section. While tube technology, in many ways, obsolescence, tube amps remains popular as many guitarists prefer their voices.
Solid-state
Since the 1980s, the most inexpensive and middle-priced guitar amplifiers are based on transistors or semiconductors (solid-state) circuits. Some designs incorporate tubes in the preamp stage for subjective overdrive sounds subjectively - see "Hybrid amplifier", below. Solid-state amplifiers are much cheaper to produce and more reliable, and they are usually much lighter than tube amplifiers. Solid state amps are less brittle than tube amps. High-end solid-state amplifiers are less common, as many professional guitarists tend to like vacuum tubes. However, some jazz guitarists tend to like the sound of "cleaner" solid-state amplifiers; only a few solid state amps that have lasting appeal, such as Roland Jazz Chorus. Solid-state amplifiers vary in output power, functionality, size, price, and sound quality in a wide range, from practical amplifiers to matching combo to professional models devoted to session musicians doing studio recording work.
Hybrid
A hybrid amplifier involves one of two combinations of tubes and solid-state amplification. It may have a power amp tube fed by a solid-state pre-amp circuit, as in most of the original MusicMan Amps, later amplifier models from Alamo Electronics, Fender Super Champ XD, and Roland Bolt booster. Randall Amplifiers V2 and T2 use hybrid technology. Alternatively, the pre-amp tube can feed the solid-state output stage, as in the Custom, Hartke, SWR and Vox models. This approach divides the need for output transformers and easily reaches modern power levels.
Modeling
The microprocessor technology allows the use of digital onboard effects in the guitar amps to create many different sounds and tones that simulate the sound of different tube amplifiers and speaker cabinets of different sizes, all using the same amplifier and speakers. This is known as amplifier modeling, and can be programmed with simulated characteristic tones from different amplifier models (and speaker cabinets - even microphone or placement types), or redirected to user preferences. Many of these types of amps can also be programmed by means of a USB connection to a home computer or laptop. Line 6 is generally credited with bringing modeling amplification to the market. Modeling of amplifiers and stompbox pedals, rackmount units, and software that model special amplifiers, speaker cabinets, and microphones can deliver large amounts of sound and tones. Players can get reasonable facsimile from tube amplifier sounds, vintage combo amplifiers, and a large 8x10 pile of speakers without bringing all the heavy equipment to the studio or stage.
The use of "full range, flat response" (FRFR) amplification system by electric guitarists has gained an extra boost from amplifier modeling. Prior to the availability of modeling, guitarists do not usually connect an electric guitar directly to PA systems or powered speakers, as most genres rely on tonal staining from ordinary guitar amplifier settings - from preamplifiers, leveling filters, power amps, guitar speakers, and cabinet designs. The FRFR approach assumes the tone is formed by the sound processor in the signal chain before the amplifier and speaker stage, so it seeks to not add any further color. or a dedicated combo-style amplifier with a wide frequency range. Such processors can be traditional guitar effects, modeling amplifiers (without power boosters), or computers running tone-forming software. Using a amp or multi-effect pedal modeling used with line-level output, guitarists can insert the guitar into a flat-response mic input or to a keyboard amplifier.
Acoustics
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 a keyboard amplifier, because they have a relatively flat frequency response with minimal color. To produce this relatively "clean" sound, these amplifiers often have powerful amplifiers (providing up to 800 watts of RMS), to provide additional "headroom" and prevent unwanted distortions. Since the 800 watt amplifier is built with standard Class AB technology, some acoustic amplifier manufacturers use a lightweight Class D amplifier, also called a "switching amplifier."
Acoustic amplifiers produce "colorless" acoustic sound when used with acoustic instruments with transducer pickups or built-in microphones. The amplifier often comes with a simple mixer, so the signal from the pickup and condenser microphones can be mixed. Since the early 2000s, it has become increasingly common for acoustic amplifiers to provide a variety of digital effects, such as reverb and compression. In addition, these amplifiers often contain feedback-suppressing devices, such as notch filters or parametric equalizer.
Vintage and repeated problems
The classic guitar amps are the "head" guitar amplifiers, speaker cabinets and cabinet combo amps/speakers from the past that guitarists, record producers and bandleaders are looking for their unique tones. Some recording studios have a selection of the most popular classical guitar amps, head amps and speaker shelves, so players can get a retro sound. During the 1980s, when most of the guitar amps were manufactured using "solid state" semiconductor technology, many musicians searched for older sound styles (for blues, root rock, etc.) Prefer older amplifiers using vacuum tubes air (called "valve"). UK). Popular vintage models include Fender Showman, Bassman and Vibroverb amps, and old models made by Ampeg, Gibson, Marshall, and Vox, as well as other small companies like Valco, Danelectro, and Premier.
Vintage amplifiers can be very expensive, because of their scarcity. A cheaper alternative is the "re-issued" vintage booster. In the 1990s, many of these vintage amplifiers have become so popular and sought after, that manufacturers are beginning to re-publish some models, while newer, smaller companies create new amps that boast "vintage sound". The level that the "re-issued" or "vintage style" guitar can create the historical equivalent varies from the manufacturer and often also depends on the price point of the product. A relatively inexpensive "reissue" designer intended for amateur guitarists may have less strict attention to historical details than high-priced reissues aimed at professional session musicians.
Stack
A stacking amplifier consists of an amplifier head above the speaker cabinet - the head above a cabinet is usually called a half stack , head above two cabinets a full stack . The head-sitting cabinet often has the top tilted in front, while the bottom cabinet of the full pile has a straight front. The first version of the Marshall stack is an amp head on a cabinet 8ÃÆ'-12, which means a single speaker cabinet containing eight 12 "guitar speakers.After these six cabinets are made, the cabinet arrangement changes to a head amp in two 4 Ã- 12 (four 12 "speakers) cabinets to make cabinets easier to transport. Some touring metal and rock bands have used a large number of guitar speaker cabinets for their impressive performances. Some of these settings only cover the front of the speaker cabinets that are mounted on large frames.
There are many types of speaker combinations used in guitar speaker cabinets, including one 12 "speaker, one 15" speaker (these are more common for bass amplifiers than for electric guitar cabinets), two 10 "speakers, four 10" speakers, four 12 "speakers , or eight 10 "speakers. Less commonly, guitar cabinets may contain different sizes of speakers in the same cabinet. Cabinets with eight 10 "large and heavy speakers, and they are often equipped with wheels and" towel bars "- handling styles for transportation.Some cabinets use mixed speaker types, such as one speaker 15" and two 10 "speakers.
Cabinet design
Cabinet amplifier guitar and guitar speaker cabinets use several different designs, including a "rear opening" cabinet, closed rear cabinet (enclosed box), and, more rarely, bass reflex design, which uses a closed back with ventilation or cabinet cut port. With guitar amps, most cabinets "open back" are not fully open; the back is covered with a panel. The guitar amps and combo cabinets are stand-alone cabinets often made of plywood. Some are made of MDF or particle board - especially in low-budget models. The size and depth of the cabinet, the type of material, the assembly method, the type and thickness of the baffle material (the wooden panel holding the speakers), and the way the sealing attached to the cabinet all affect the tone.
When two or more speakers are used in the same cabinet, or when two cables are used together, the speakers can be transferred in parallel or series, or in combination of two (eg, two 2x10 "cabinets, with two speaker cables in series, together in parallel).Whether the parallel or series cable speakers affect the system impedance.Two 8 ohm speaker cables in parallel have a 4 ohm impedance.The guitarist that connects multiple cabinets to the amplifier should consider the minimum impedance amp.Selal vs series also affect the tone and sound. The cable holders in parallel slightly dampen [s] and hold them [s], giving what some describe as "tight response" and "fine separation". Some describe the speaker cable in series (usually no more than two) as audible "... more loose, giving a slightly more raw, open, and tense sound. "
Distortion, power, and volume
Power output
The relationship between the power output in watts and the perceived volume is not immediately apparent. The human ear feels a 5-watt amplifier as half as loud as a 50-watt amplifier (tenfold increase in power), and a half-watt amplifier is a quarter as hard as 50 watts amp. Doubling the output power of an amplifier produces a "visible only" increase in volume, so a 100 watt amplifier just feels just louder than a 50 watt amplifier. Such generalizations are also subject to the tendency of the human ear to behave as a natural compressor at high volume.
For electric guitar amplifiers, there are often differences between guitar amps "practice", "studio" with output power ratings of less than one watt to 20 watts, and "" or "stage" of 30 watt or higher. Traditionally, this has been a fixed power amplifier, with some models having a half-power switch to slightly reduce the listening volume while maintaining the distortion of the tubes.
The power damping can be used with low-power or high-power amplifiers, which produce a variable power amplifier. A high power amplifier with power damping can produce power tube distortion through various listening volumes, but with a decrease in high power distortion. Other technologies, such as double rectifiers and loose circuits - should not be equated with attenuation - allowing high power amplifiers to generate low power volumes while maintaining high power distortion.
Speaker efficiency is also a major factor affecting the maximum volume of a tube amplifier.
For bass instruments, a higher power amplifier is required to reproduce low-frequency sounds. While electric guitarists will be able to play in small clubs with 50 watt amplifiers, bass players performing in the same place may need amplifiers with 200 watts or more.
Distortion and volume
Distortion is a feature available on many guitar amplifiers that are not usually found on keyboards or bass guitar amplifiers. The guitar tube amplifier can produce distortion through pre-distortion equalization, preamp distortion distortion, post-distortion EQ, tube distortion, rectifier tube compression, output transformer distortion, guitar speaker distortion, and guitar speaker response and cabinet frequency. Due to many factors beyond the distortion of preamps that contribute to certain guitar sounds, recording engineers and PA system technicians usually place the microphone in front of the guitar speakers, rather than just using a guitar amp pre-amp signal. A sound engineer or music producer can send DI out signals from pickup to separate tracks at the same time, so they can amplify the signal later. Instead, it is quite common to use a DI box with an electric bass.
Sound distortion or "texture" of the guitar amplifiers is further formed or processed through the frequency response and distortion factor in the microphone (their response, placement, and multi-microphone comb filtering effects), microphone preamps, mixer channel equations, and compression. In addition, the basic sound produced by the guitar amplifier can be changed and formed by adding distortion and/or equalization effect of the pedal before the input amp jack, in the effect loop just before the power amp tube, or after the power cylinder.
Power tube distortion
Power-tube distortion is required for amp noise in some genres. In a standard master-volume guitar amp, since the final volume or master master increases beyond the full power of the amplifier, electric tube distortion is generated. The "soak power" approach puts attenuation between the electric tube and the guitar speaker. In the re-amplified "dummy load" approach, the tube power amp drives a mostly resistive dummy load while an additional low power amplifier drives the guitar speaker. In the isolation box approach, the guitar amplifier is used with the guitar speakers in a separate cabinet. A soundproof insulation cabinet, isolation box, isolation chamber, or isolation chamber can be used.
Volume control
Various labels are used for potentiometer level attenuation (buttons) on guitar amplifiers and other guitar equipment. The electric guitar and bass have a volume control on the instrument that weakens the signal from the chosen pickup. There may be two volume controls on electric guitar or bass, wires in parallel to mix signal levels from neck pickups and bridges. Restoring the volume control of the guitar also alters the equalization or frequency response of pickups, which can provide pre-distorted equalization.
The simplest guitar amplifiers, such as some modern vintage amps and practices, have only one volume control. Most have two volume controls: the first volume control called "preamplifier" or "gain" and master volume control. The preamp or gain control works differently on different guitar amp designs. In amplifiers designed for acoustic guitars, rotating pre-amplifier preamp amplifies the signal - but even at its maximum setting, the preamp control may not generate much overdrive. However, with amps designed for electric guitars playing blues, hard rock and heavy metal music, turning on a preamp or getting a knob usually results in overdrive distortion. Some electric guitars have three controls in the volume: pre-amplifier, distortion and master control. Rotating the preamp and distortion keys in various combinations can create a variety of overdrive tones, from mild soft and warm grunts suitable for traditional blues performances or rockabilly bands to extreme distortions used on hardcore punk and death metal. In some electric guitar amps, the "gain" knob is equivalent to distortion control on the distortion pedal, and may also have side effects altering the proportion of bass and treble sent to the next stage.
Simple and inexpensive amplifiers may only have two tone controls, bass control and a passive treble. In some better quality amps, one or more midrange controls are provided. In the most expensive amps, there may be an equalizer rack for bass and treble, a number of mid-range controls (eg, mid mid, mid and high mid), and a graphic equalizer or a parametric equalizer. The master volume amplifier control limits the number of allowed signals through to the driver and power amplifier stages. When using a power attenuator with a tube amplifier, the master volume no longer functions as a master volume control. In contrast, the power attenuation attenuation control controls the power delivered to the speakers, and the master volume amplifier control determines the amount of power-tube distortion. Power-based power supply reductions are controlled by buttons on the tube power amp, variously labeled "watt", "power", "scale", "power scale", or "power damper".
See also
- List of guitar amplifier manufacturers
- Antiques music
- Sound of the tube
- Bass instrument amplification
References
Further reading
- Fliegler, Ritchie. Full Guide for Amp Guitar and Maintenance . Hal Leonard Corporation, 1994.
- Fliegler, Ritchie and Eiche, Jon F. Forgive!: Half Other Rock 'n' Roll . Hal Leonard Corporation, 1993.
- Hunter, Dave. Amped: The Illustrated History of the World's Greatest Amplifiers. Voyageur Press, 2012.
- Pittman, Aspen. The Tube Amp Book . Backbeat, 2003.
- Tarquin, Brian. Encyclopedia Guitar Builder . Skyhorse Publishing, Inc., 2016.
- Weber, Gerald, "Desktop Reference Hip Vintage Guitar Amps", Hal Leonard Corporation, 1994. ISBNÃ, 0-9641060-0-0
External links
- Lenard Audio History of Guitar Amplifiers
- Vintage Guitar magazine article on vintage amplifiers
Source of the article : Wikipedia
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