In Defense of Small, Low-Wattage Amps

After reading Adam Gotch’s excellent case for using 100 watt amps at gigs big and small, I am compelled to come up with a counter-argument.

There is simply no sonic reason outside of tight, riff-based metal to use a stack these days. Even then, I’d argue that there are probably plenty of instances a well-defined metal tone can be had that is quieter, in a smaller size, and more sound-person friendly. There, I said it.

First, let me explain. I am not a vintage snob. The music I write can be described as ambient. I am a fusion guitarist playing in a blues band using very unconventional guitars, amps and pedals who gets weird looks whenever I play at a blues festival. I am not one of those people who think only tube amps have the best tone. I will use anything that sounds good, but sounding good is only one of the requirements of this pro guitarist.

This is the amp I use the most live. No master volume, and 18 watts.

Wait? It isn’t all about the sound? Then, its gotta be the looks, right? It is certainly the looks. Nothing looks cooler than a row of stacks, right?

Well, it sort of looked cool when Van Halen was doing it in ’83. And Judas Priest. And Yngwie. And every metal band that followed. Lets face it- there is a certain iconography and fetishizing that goes with giant amps ALL IN A ROW! Then as well as now, many of those Marshalls were/are fake!

Yes, someone actually makes these.

Well, stack-lovers argue that there is no other way to get that sound. And anyone who has played an A power chord in front of a whole stack (or 2 ) knows what I am taking about. Yes, I understand headroom. I understand that stack-lovers love that tightness and focus that comes from standing in front of speakers 6 feet high. I understand many tiny clubs only put the vocals through the PA, and you wanna rock, dude. And you wanna be heard. Oh yeah, it looks cool too. It is a symbol of masculinity: Look at my killer stack, doood! It sounds sooo awesome!

You know who hates stacks? Sound men & women. Many times they can’t mix the PA properly because the 100 watts are competing with the vocals. It makes their PA work harder, and they eventually give up trying to make your band sound good. All those hours posing in front of the mirror with your stack are wasted when you have terrible sound. The soundperson is the gatekeeper between your bitchin’ tunes and your audience, right? Don’t ever make them mad. Be easy to work with. I compare it to yelling at your waiter before he/she delivers your food. You don’t want to regret it later, right?

I will agree this gig needs a good ENGL. But just one.

Back when Hendrix and Page and Blackmore were tearing it up, PA systems were terrible. Now, at any good venue or festival, there are wonderful top-notch PA systems. There are soundpeople who really know what they are doing. They like guitarists that are easy to work with, and don’t make their job any harder than it needs to be. Respect them, or regret it later.

You see, years ago, there was no such thing as a master volume on amps. Amps had to be LOUD to get those big power tubes to distort. But when they did, oh baby, you had a wonderfully glorious sound. These days, it is all about the buzzy tightness of preamp tubes distorting , which can be done at many different volume levels. Smaller amps allow you the flexibility of getting the sound you might want in a smaller package. Yes, a smaller package means less stage volume, but that is a good thing. Ask your singer.

Another point is that standing in front of a giant stack is terrible for your hearing. You know that ringing after an awesome show? That is permanent damage to those little hairs in your ears. Ask Pete Townshend (someone who definitely played louder than anyone reading this) how cool standing in front of loud amps is, and what it does to your hearing.

John McLaughlin doesn’t use an amp at all. MacBook straight to PA.

Finally, my biggest gripe with big amps is that they are, well, big. If you have friends or band mates willing to help you get a few cabs out of mom’s Oldsmobuick, awesome. Or if you are at Yngwie’s level, and can pay people lots of money to maintain, carry and set up these amps every night. But most pros are slinging gear themselves. Less to carry saves your back and takes up less room in the van, which the other musicians will appreciate. Not just the musicians in your band either. If you are in a multi-band show, and you insist on competing with the PA with a giant amp, the soundperson will not be in a good mood for the next band either. That is a good way to get a whole lot of people mad at you at once.

So yes, my gear choices are based on more than sound. Personally, if I can get my entire rig onstage with one trip from the car, I am happy. So is the soundperson, as well as the other musicians. The audience hears the sound mixed well from the PA, the stage volume is low, and my back doesn’t hurt. Yes, a big amp might sound better to the guitarist, and he/she might feel like they can play better. But this isn’t all about the guitarist. It is about many things coming together to make a great show for the audience.

How about other guitarists out there? I can’t be the only one that thinks low-wattage, smaller amps are the right tool for the job most of the time. Or maybe you are one of those ‘give me 100 watts or give me death’ types that think nothing but a stack will do. Lets hear you state your case.

Dave Eichenberger

About Dave Eichenberger

Guitarist Dave Eichenberger composes ambient music using guitar technology and looping, yet still has time to record and perform with international jazzy soul artist Julie Black. Follow him @Zoobiedood on Twitter.
This entry was posted in The Tone Garage and tagged , , , , , , . Bookmark the permalink.
  • http://www.facebook.com/profile.php?id=607529701 Matt Picone

    It’s perfect argument for the Axe-Fx II :-) And that even does “tight riff-based metal” too.

  • http://www.facebook.com/jim.szymanski.13 Jim Szymanski

    I think that I’ve split the difference here. I have a Mesa MkI loaded with 6V6′s and on tweed for about 30 watts and then have a jumper in the effects loop and it turned down to about 3. I get wonderful feedback and no one’s ears bleed. Keep in mind these settings are for a small stage. They will change some for a larger venue. I love the look of a stack but don’t see the point at this point in time. I just don’t have the room or the back anymore. Sold my last half stack to a 14 year old that could out play me and sounded so much better through it than i did. So everybody’s happy.

  • http://www.facebook.com/gearoidw2 Gearoid Walsh

    You can *definitely* get a respectable metal tone out of smaller setups… The Axe Fx for instance – doesn’t have to go through a 4×12, and can also run into the desk. Also Blackstar’s HT pedals do great metal tones, and sound authentic through most amps imo. I’m currently using a 2×12, and a 100W amp with its power scaling set between 10 and 30W. Once you can get decent levels in the master volume (and enough from the preamp aswell), you’ll be hearing and feeling the power tubes. Not the same as a cranked 100W, but not bad.

  • http://www.facebook.com/faridz.muhammadhms Faridz ‘Atkinson’ Muhammad Hms

    Guitarist with huge stack, drummer with huge bass drum, vocalisr with huge mic.
    That should do it. :D
    Peace
    I prefer in the middle..
    50 to 60 watt…

  • http://www.facebook.com/alaafin.b Aláàfin Baru

    I agree with all the terms of your text … stack of amplifiers for guitarists are legionnaires or for people who have the Oedipus complex … I like the great rock n roll guitarrist who made the pure rock n roll without a dumb style…… I prefer a tube amp and a lot of personality.

    Hugs from Brazil.

  • Filipe

    If John McLaughlin uses a MacBook, who is anyone not to? By the way, cheers on that nice looking Steinberger!

    • stratoholic

      Yes John Mclaughlin has a very modern rig but he does use a little sd tubepreamp.

      • Filipe

        That just makes it more awesome, showing that with a little budget you can get a decent tone. :)

  • http://www.facebook.com/profile.php?id=686820647 John Guilmet

    The engineer will only mic one speaker anyways so whether you play a combo or a full stack that makes no difference for the audience. The point of having louder amps and more speakers is only useful for on-stage monitoring IMO. I play a 15 watt amp and make it work just fine.

  • http://www.facebook.com/profile.php?id=1407881604 Patrick Marshall

    Big believer in small tube amps and low stage volume here. A lower stage volume gives you the ability to hear the other players as well as yourself. you might even be able to *gasp* SAY SOMETHING to your bandmates while onstage without shouting full on right into their ear canal. If you need to be louder the PA can be turned up. I truly could not imagine playing any music at any venue that required 100 watts into a full stack unless the PA did not exist. And even then, I could do it just fine with a half stack or a 2×12 cab.

  • http://www.facebook.com/petelugg Pete Lugg

    Agree with everything you say here. I play an 18watt amp into a 1×12 cab. I can crank the amp to get those power tubes driving and it sounds great. This set up is suitable for 99% of the venues I play. I do also have a 50watt valve head for that 1% of the time that I might need the extra power, but that would only be outddors or in a large venue where the backline is a long way from the front of the stage.

  • Six-String-Samurai.com

    Low wattage amps aren’t the only amps that can be sound-person friendly… I’ve gigged heaps of 100W heads and gotten great tone out of them, while still being extremely soundperson friendly! So… if that’s your ONLY argument FOR low wattage amps… it doesn’t make a particularly strong case to me, sorry.

  • Guest

    Drew Shirley of Switchfoot uses low wattage Fender combos just cranked to the max for recording–like 22 watts. Saw an interview on the interview.

  • Paris Mahtosh

    I agree. My whole guitar rig contains ISP decimator ProRack G–> ENGL MIDI tube preamp –> Audio interface –> Amplitube on Macbook (for cabinet simulation and delay-chorus-reverb etc)+ MIDI pedal-board for controlling both ENGL and Amplitube presest. That’s all. and it sounds great in studio AND on stage whatever the genre is.
    For carrying the whole rig which also includes my Les Paul I wouldn’t even need a car!
    Taking the guitar with one hand, the rack case with another hand and the rest of the gears in my backpack!

  • http://www.facebook.com/profile.php?id=1203156841 Adam Marshall

    Drew Shirley of Switchfoot uses low wattage Fender combo amps–like 22 watts–cranked for recording. Saw an online interview of his.

  • Billy

    Sorry dude have to disagree. Other than the weight, most modern day 100 watters have a master after the power amp so you can get those tubes to distort at a freindly volume and now we’re seeing amps with built in attenuation which is better than a master vol due to the amp still working very hard and resulting in zero tone loss. I use a 150 watt Marshall AVT which is not a tube amp, but still has a 12ax7 preamp tube and the Marshall FDD which makes it behave like a pseudo-tube amp in that the louder you crank it the more the distortion smooths out and behaves like power tubes. Awesome tone. Best part is you crank the channel volume and dial the master back. Its a heavy S.O.B though.

  • http://www.facebook.com/agotch902 Adam Gotch

    So Dave, did you have a case to make for the low-wattage amps, or are you just arguing against high-wattage amps? ;-)

    Readers will notice my article didn’t disparage low-wattage amplifiers – I merely stated that they aren’t always the right tool for everyone’s situation, and to assume – like you might be doing here – that the case for large amps is just about the ego of the guitar player – is kinda closed-minded and presumptive.

    Otherwise, an interesting read!

    • http://www.facebook.com/people/Joshua-Scott/100002963550950 Joshua Scott

      I completely agree with you,and your article,I liked your article,in this one all it sounded like to me is like this guy is just someone whose never had a good quality 100 watt amp. and has always had good enough fortune to have a good sound man to make up for his low wattage amp.And in my experience,no not all clubs or festivals have “top quality”PA systems,and as far as someone “pissing off the sound man”simply by bringing a stack onto the stage,that is simply not true,what I always do is approach the sound man,before bringing my gear on stage,and tell him what I’m using and ask him if I can mic it so I don’t have to turn it up and above “practice volume” and the response I almost always get it ” just turn it up loud enough so you don’t have to mic it,and I’ll just adjust the vocals accordingly” sort of reverse physiology,if you make them think you don’t wanna dime your amp unless you have to then you’ve shown that you’re a team player,that being said I have a 50 watt 1977 Marshall Master Model that I use with one 4 12 cab for small gigs,and a 1966 Marshall 100 watt Superlead Plexi(non-master volume) stack for bigger gigs and I just use a THD Hot Plate to tame it down to a manageable level.

  • James

    I ride the fence–I love the simplicity of my Dr Z Maz 38/Vox AC30 with my boutique pedals but love the power and technical switching/loops of my 100w Mesa amps and “real” tube amp distortion. Compact/lightweight size, not having to find bedroom volume between 0 and 0.8 on the volume dial, and type of band I’m in all play a factor, but protecting my hearing outweighs any coolness of a half stack that I’d need. In this respect I agree with you completely. On the flipside there is no such thing as “can you make it quieter?” to a metal drummer who is also making it difficult for the soundman and singer. Also EL84 vs 6L6/EL34 “tone” comes into play for downsizing to smaller wattage amps. Amps like the Mesa Roadking have a multitude of options so physical space on the amp is required for all the switches and jacks. That’s not possible on something the size of a Blues Junior. Good read on both your articles. The fake amp walls are hilarious.

  • http://www.facebook.com/mark.plourde.100 Mark Plourde

    I would have to agree with Adam on this one. While there are
    a number of AMAZING low wattage amp out there (Soldano Hot Rod 25), they are
    simply not right for any and every situation. The same can also be side for
    high wattage amps. That said there are far more ways to “manage” a high wattage
    amp, iso-cab, speaker simulator (Palmer, etc.). There is something about the
    tone from a higher powered amp that can’t be replicated in a low watt amp. And
    I’m not talking about 100, 200 watt monsters, even just a 50 watt amp. The clean
    headroom available in a higher watt amp can’t be beat. This reasoning is why
    some of the most coveted and sought after amps off all time are higher wattage
    piece. Dumble Overdrive Special (100w), Marshall Plexi, Trainwreck. And if you
    look at the big time touring pros, from all genres (Brad Paisley and Keith
    Urban to Zakk Wylde and Slash, who have the luxury of ANY amp they want, and
    are playing through the best PA available are still using high watt amps. Short
    of the players using modeling technology (Fractal Axe-FX), from Country to
    Thrash Metal the 100w amp still rules. And on a side note, even Fractal devotee
    Tosin Abasi has started to use 50 watt Port City Pearl. Just my humble opinion
    on the subject.

  • edison

    I have both and there’s definitely reasons for each. Certain tube types and certainly manufacturers sound different, so distorting an EL-34 sounds different than distorting an EL-84 even from the same manufacturer. As far as speakers, even if you only mic one speaker, the air space inside a 4×12 closed-back cabinet provides a specific amount of damping on the speakers that affects their frequency response, and it is something that is perceptible, particularly through a mic placed a few inches away from the speaker (where your ears will never be).

    That said, I have used an low-watt Emery through a 4×12 (because it only uses 1 power tube instead of 4, it only puts out about 12 watts, but I can distort the power stage) with really great results for ‘big’ tone at lower volume.

    Modern 100-watt amps with a master volume will not get all the ‘legendary’
    tones because they will only allow you to distort the pre-amp tubes,
    where as many of the ‘legendary’ tones were achieved by distorting the power stage.

    Power soaks/power brakes lose treble and what treble compensation they have doesn’t exactly make up what was lost because it doesn’t match the frequency curve of what was lost. But they are a fair solution.

    Emulation amps don’t sound like good amps as much as they sound like a recording of a good amp, so if you put a mic in front of one, you’ve lost a generation of tone, in my experience.

    One option for big amp sound at controlled volumes which I haven’t heard discussed would be to build an isolation box for the cabinet with a mic inside and place it off stage, or at least turned away from the audience and other stage mics.

  • Gus

    if it sounds good use it. if it is the tone your looking for, use it. i have a half stack and love it but i do agree to what he is saying.. besides.. if you are playing a gig and doing it properly, your amp would be miked up and have some sort of sound proofing around the amp if available to your disposal. but then people will say it’s not the same tone. well.. simply put, dont buy crap mics. i’ve set up for a few bands and watched how they roll.

    • Gus

      forgot to mention most amps i see are low wattage single/dual speakers. such as fender bassman, 15 watt bogners, ac15/30s, orange, list goes on.. i havent seen anyone so far use more than 30.. maybe 50 on rare occasions. my half is actually a solid state, and it sounds great to me shockingly. tubes do have a cleaner side to it and that distinct crunch. for my purpose it fits with slight overdrive.. so it depends on all your gear, your playing.. you get the drift.

  • Lucas

    I think that a good 40-60 Watts is a great wattage for stage volume. at the level where the soundguy starts doing his thing, that’s right about where the tubes start breaking up and giving you that nice saturation that are heard on recordings all throughout rock history. I think that if you go overboard with power, there can be tone lost (not getting into that “sweet spot”). My personal opinion is, get yourself a good 1 or 2×12 combo at about 50 watts (orange rockerverb 50 for example)…. you can play anywhere in the world with that amp, get that big massive tone, not take up too much space, and it looks awesome too.

  • http://www.facebook.com/daniel.west.1610 Daniel West

    Fair enough points, but you’ve ignored a few crucial details. Firstly, metal musicians want to FEEL their amps. Those who go to Doom shows will know this. The big amps are a part of the atmosphere and experience. That is why a famous Doom/Drone band named themselves after a particularly loud and raucous amp. You’re a blues musician. You don’t live the lifestyle of a metal-head. So just like a would never pretend to understand why jazz musicians go to such lengths to find their ‘zone’, you’re only pretending to understand why rock fans do what they do. Practicalities come second to the music, and the big amps are a big part of that music. We each make sacrifices only where we feel fit.

    • BX8a

      The FEEL that you claim is glorified by your metal camp is just another ‘arcane’, ‘esoteric’ idea subjective to personal taste, like ‘LOOKS’ that Dave proposes in his article. If you want FEEL, than don’t play metal, be a porn actor.

    • http://www.dmleblanc.com/ Dustin LeBlanc

      I think most of your feel is from a halfstack, not the wattage of the amp. 4×12′s make the entire world better. I am hoping someday to run an 18 watt through a 4×12.

  • collin nelson

    ive been down the 100 watt road, i now play on several smaller combos. my main in a orange dual terror, while not really a combo, it maxes out at 30 watts and i get some of the best sounds ive ever had through any amp. and all at a respectably low volume. ive been on stage and behind the boards and the one thing ive learned is that dave is correct, the whole experiance is better with low stage volume. if i want it loud, i get in in the monitors, no playing tug of war with the other guys in the band. and yes, i have been behind the boards when a guitarist wants to crank it and im stuck with trying to fix the mix the best i can. and you know what happens? the band sounds like shit and everyone blames the sound guy. no, here is no need for a big stuff on stage. if you cant figure out how to get that “big sound” out of smaller gear, then its time for you to go back to school!

  • collin nelson

    if you want to know the real deal with alot of your fav metal bands, seek out their recording practices and see how loud they are there.

  • Nick A

    I use a 15w Orange Dark Terror and have never needed to put it above 9 o clock, PA or otherwise – I’ve played my share of 100w+ amps and would argue a lot of the advantage comes from them usually being attached to 4×12′s as opposed to the higher wattage; that “Thump” is four speakers moving air rather than one or two.

  • Doug M.

    As Miles Davis said, if it sounds good it IS good. What you actually use to get that sound doesn’t matter.

  • JBKL

    How about a 100W head with a 2X12 cab? There are some 2X12′s out there that can match the sound of their bigger brothers. That should make it less of a burden in carrying it around.

  • John Michaels

    I’ve been saying that for years being a musician & sound man, you hit the nail right on the head, but if you look at the ones that insist on bringing that oversized S.O.B. of an amp. it’s usually because the guy has an Ego & don’t give a flying F#%* about any one else but themselves,… Hence the reason bands break up so often.

  • http://www.facebook.com/tom.huff.58 Tom Huff

    I truly believe a lot of this has to do with the type of music you play. I play a lot of different styles and usually get away with playing through a 17 watt head and 2×12. But when I really want to get heavy, deep, downtuned or get that Sabbath or Doom feel I go for the big rig. It is what it is. I can’t begin to get the same tones and amp interaction when doing loud music like doom rock or sludge with a smaller amp than I use. The genre was built upon that type of incredible volume levels and tone from power tube break up. There is no real argument here, only different people expressing their different needs. I really understand personally that there is a need for both amps and we are fortunate to have them.

  • http://www.facebook.com/people/Joshua-Scott/100002963550950 Joshua Scott

    You don’t get the same amount of sustain with a small low wattage combo amps as you do with a full stack because there is a lower amount of vibration being produced by the amp,also you don’t get the same tone from two different types of power tubes an EL84 won’t sound like a EL34 and vice versa,and just because you have a 100 watt stack doesn’t mean you have to blow everyone away,you might have the ability to do so but that doesn’t automatically mean your going to.I’m not downplaying low wattage amps for certain situations,but I don’t remember saying “This amp is to high wattage to usable”But I have been in situations ware I wished I had a more powerful amp.I’t just sounds to me like you’ve got a illegitimate argument,like you don’t have the experience to have a legitimate point.

  • BX8a

    Adam Gotch is delusional. So Adam, if I need to replicate the sound of Metallica in my 3x3m bedroom, the only way I can achieve that is by using Mesa Boogie stacks (as opposed to using a distortion box and a 50-watt combo) even though that would break the glass windows and my eardrum? Get real man…

    • BX8a

      Add to that, as opposed to using a modeling amp like Line6 or Behringer V-amp, I should go direct for Mesa Boogie stacks Kirk Hammett uses.

  • itstwueitstwue

    Since I play both guitar and bass, I’ve played through as many different amps as there are grains of sand: twin 15s, 8x10s, single 15″ with a piezo tweeter, single 18″ with a horn (a modified subwoofer), 4×10 aluminum cones, 2×12 combos, Marshall stacks, mic’ed single 12″ combo through a PA, 4×10 paper cones, solid-state, tube, hybrid, pedal board to PA, tube-preamp direct box with effects to PA, etc.

    If I’m playing a small room, I travel light. I know my equipment well enough to get the sound I need for the gig. If it’s an outdoor/festival venue, I’ll work with whatever backline is provided, or I’ll use what’s necessary for the music and the event.

    If we don’t stop using amp stacks as phallic symbols, and consider them for what they are, sound reproduction devices, we’ll lose sight (sound?) of our true purpose… we’re there to make music, not to impress the fanboys.

  • Wattage

    We’ve got more tools available to us than ever before why get hung up on just one type or one way to use them. If you don’t talk to the soundman before you play to find out what they expect or hope for you are working against yourself regardless of the rig you run. Also get a good tone without a lot of fuss and any soundman that isn’t a jerk is going to dig working with you, have a good band and it’ll get even better.

  • http://profile.yahoo.com/GZDC6EOX42T2FHQSQDJOOIH3LA Deathy

    I agree, and as far as sound goes I just recorded two killer tracks using a 79 Vibro Champ for both guitars, I used a MXR Distortion III and the amp up full, everyone thinks I’m playing through huge British STACKS haha!

  • http://www.facebook.com/bharshaw Brian Harshaw

    Sounds more like an argument against big amps, not a case for small amps. There really is a place for both and I agree with Tom, just depends on what you play. I have more amps and cabs than most people will ever own, large and small. I also play in a very loud southern stoner/doom band, but I do not play a stack, kills my hearing. Bigger venues, I might do a side by side stack, but usually just a head and 4×12. And it is about the feel for the music style we play. If you don’t understand it, don’t bash it. Has nothing to do with ego. I could play two full stacks if I wanted to and I don’t – first that’s a lot to carry, second most club stages cannot accommodate it, and thirdly, it is just overkill. I can get what I need from a single 4×12 with a good head on it. Someone mentioned doom – when I go to doom/sludge/stoner rock shows, I want to feel that in my chest, it is part of the experience and what “that” audience loves and expects. And let’s all be honest here, a good sound man can work with a loud guitarist – it’s usually the bad ones that have a hard time. 30 years of being bands has led me to that conclusion. So all you fedora headed, Hawaiian shirt wearing, strat slinging old farts play your little tiny combos all you want. I’m as old as you and I prefer to rock out. And by the way, the other guitarist in my band has 3 non-master volume amps, so lots of people still play them as do I from time to timel. And let me say one more thing, there is a perception from the audience when a band has amazing tone and can feel it in their gut – that this is not some local rinky dink band, these boys are serious, professional, and are here to put on a real rock show. And screw those little 100 watt amps, my current amp of choice is an 80s Peavey Butcher, 120 watts. Loud and proud brother.

  • imenator

    I think both Dave and Adam have made their points very well. It is just about each one of us finding the best for our own situation or needs. I remeber Marty Friedman using earphones so he could actually hear him self so sometimes I wonder if a stack wall is actually too much. I don’t know anything about sound engineering but I have been in different concerts, some of those sounded like s**t and other sounded so cool. If using a PA will help the audience to get a bettter sound quality and balance of all the instruments during the gig I think I would like to go that way.

  • Andrew

    I hate master volumes. Anyone that loves a deep, throaty, well-defined power tube distortion is gonna have a hard time getting it out of their 100w 4×12 at reasonable volumes. Unless you like high gain or are playing in the big leagues enough to have a venue big enough for it or are able to afford isolation cabinets, you’re stuck with sizzly, dynamically poor preamp gain.

  • A.L.G

    I use a Peavey Vypyr 30W as my main amp, but then again I don’t go frequently gigging at venues either. Smaller amps are ideal for practicing, there’s no about that. It’d ridiculous to use a 100W in your bedroom to practice. That said, it only seems logical to use a louder/more powerful amp for bigger venues. Technology is at that point nowadays though to where you can get a lot of the big sound from more powerful amps in smaller packages. Hell, my Vypyr has a post and pre gain controls, several different editable amp channels, 12 different effects, and also several different pedal simulators, and all of them sound as true as the original pedals (albeit with less footwork). Back in the day you’d need a small army worth of equipment hooked up to your amp to get all those different tones. And mind you the Vypyr is still a tube amp at heart. A more powerful amp isn’t necessary per say to get a great tone, but it is neccesary to get that tone heard depending on the size of the venue. That’s my two sense anyway, coming from both my own playing experience and numerous concerts I’ve gone to. You’re not going to use a 100W to practice in your bedroom, but on the flip side you’re not going to see EVH or Slash using a 30W at a place like Madison Square Garden.

  • http://www.facebook.com/profile.php?id=1099913158 Patrick Paddy Taylor

    Fender Deluxe is all I need…compressor…..that reverb….there it is

  • http://www.facebook.com/profile.php?id=748325866 Patrick Emry

    right now im going for a 120 watt combo that has a power break built in ,that way i can scail down power according to venue and doing research on mics ,i want one amp i can use in many situations since limited finances is an issue both sides of this discussion have great points im somewhat in the middle i want one amp where i can adjust to any situation

  • http://www.facebook.com/stevieod Steve Matsukawa

    I try to accommodate most of the venues I play, and also make up for the deficiencies in the monitors that are there from time to time. I have a Randall RG120ES and a Peavey 4×12 half stack that serves me well, with my Zoom G9 pedal board with 2 12AX7 tubes I get all the tone I need and want.

    I also have a Peavey Classic 100 50 watt combo with 6L6 power tubes and a pair of Celestion speakers, again with the Zoom pedal board I get what I want. Then I do have a Bugera V22 that uses EL84 tubes and 3 12AX7 tubes that puts out 22 watts and absolutely just screams when dimed. Then I have a Peavey Audition 110 that has 20 watts solid state watts that emulates tubes and again with the pedal board it does itself proud.

    I also have a few 8 and 5 watt amps as well as a Marshall Micro stack that runs 15 watts and a Marshall Lead 12 Reverb for recording and bedroom practice.

    It all boils down to what the situation requires, some of the time the PA and/or the sound guy and/or the monitoring system leaves much to be desired. At those times a little help from the backline is helpful in getting the stage volume good.

    I imagine it gets to the point of what is better for the player, looking good or sounding good. Your choice.

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  • phildobbin

    I generally use two old Fender Vibro Champs plus a Fender Blues Deluxe that’s been modded with 6V6s so it only pumps out about 22W. All three through a Boss LS-2 & it’s more than plenty loud enough for anywhere. It’s also plenty friendly enough for the smallest gig. I get much more nuance & flexibilty of sound using that set up than the Marshall Mark II1959 100W head I’ve got & now never use…

  • James Morrison

    I just picked up a Mark V Combo, and I have to say, on Channel 3, the 10 watt mode smokes, and can easily clear a heavy handed drummer. I love it, and so does any sound-person tossing a mic in front of it.

  • timmy

    i seen a band afew weeks back.. i cant think of the name, but it was a popular cover band. with some old washed up long haired dudes that look like they just walked out of a pink floyd poster or something lol… there equipment was all pro class stuff.. the thing that puzzled me was the guitarist.. hes pulling out gibson guitars and tunning them up.. through a roland cube with an 8 inch speaker if not smaller.. i thought maybe he was just tryin to stay quite while the drummer and bassist do there thing.. until the started playing i then realiezed that the small amp was mic’ed and thats what we was playing through he got an amazing tone out of it.. but i kinda wondered how do that work in the practice room?? and pushing through a PA like that, sure its what the PA was desigen to do.. but i question the long term effect it may have

  • Greg Gottsacker

    I have several 5 watt amps for recording. I think you get the best tone for your buck from them. For live performing I have a Boogie Mark IV. (I had a flight case that fit and I got a really good deal on it.) However, I do that for the clean headroom. It’s usually set to 3 or 4 and I use pedals with it to get overdrive, etc. My favorite “big” amp is a pre-CBS 40 watt Super Reverb. Unless you’re playing a stadium, you really don’t need more than that. You could probably do real well with something as simple as a Vibrolux Reverb, a Brownface Super or one of the Rivera era Concert amps.