The Laney L50H 50W Tube Guitar Amp Head is the world’s first 50 watt RMS Single Ended true Class A all valve amplifier. It is also the first amp to use five EL34 tubes in the output section, to create a warm and progressive distortion that responds to a player’s touch and playing style. Besides the EL34 tubes in the power section the amp also uses three 12AX7 tubes in the preamp section. Continue reading “Laney L50H 50W Tube Guitar Amp Head”
The Bugera T50 Infinium 50W Tube Guitar Amplifier Head is a 50-Watt Cage-Style 2-Channel Tube Amplifier. This head is hand-built and uses four 12AX7 tubes in the preamp section and two EL34 tubes in the power section. It is housed in a cage style metallic mirror finish with a suitcase-type handle. Continue reading “Bugera T50 Infinium 50W Tube Guitar Amplifier Head”
The 100 watt head is pretty much the standard for guitar players of any genre when it comes to live performance. Right now we are going to look at a few of the greatest amps available to see if we can find the best one for you. These amps are all modern designs but some of them might be reissues of older vintage amps. These amps will be designed for heavy overdrive, maybe even leaning towards modern Metal type tones. Continue reading “What are the Best 100 Watt Guitar Heads?”
The Bogner Uberschall 100W 6L6 Tube Guitar Amp Head is a very high gain amplifier with the needs of the modern Metal guitarist in mind. The Uberschall delivers 100 watts of power using four 12AX7 tubes in the preamp section and two 6L6 tubes in the power section. The amp has two footswitchable channels both with extended headroom. Continue reading “Bogner Uberschall 100W 6L6 Tube Guitar Amp Head”
The Marshall Plexi 1959SLP 100W Tube Guitar Amp Head is a reissue of the Marshall Super Lead Model 1959 that was first introduced in 1965. This is the amp head that Pete Townshend, Eric Clapton, and Jimi Hendrix used, and we now recognize it as the one that set the standard for how amplifiers should sound and look in Rock music.
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Digital modeling combo guitar amps have come a long way since the early days, when they were known for over-promising and under-delivering. The tones that they create today are very usable for live and recording purposes. Two advantages of digital amplifiers are their affordability and their ability to be quite compact. Modern technology has also helped by creating full range speaker systems that deliver a room-filling stereo sound from a very small package.
So, now we’ll take a look at a few of the best of the small and inexpensive digital modeling combo guitar amps. They should all be great for beginners because they won’t require too much of an up-front investment, but they will produce tones that inspire more practice. They’ll be helpful for people who don’t need too much power but also don’t want to compromise on tone.
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The 12AX7, 12AT7, and 12AU7 all belong to the same family of nine contact, twin triode tubes. In many cases, these tubes are interchangeable and can easily be swapped. We will take a look at why you might, or might not want to swap out the different types of tubes.
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Eric Clapton, B.B.King, Buddy Guy, and Muddy Waters all got plenty of miles out of their combo amps. This list of great combo amps for the Blues is just scratching the surface. The combo amp is the perfect partner for the blues guitarist, especially since they are most often easy to transport. Combo amps are usually lower wattage which means that you can drive them harder without turning your neighbours into enemies. Continue reading “What are the Best Guitar Combo Amps for the Blues?”
Vox has dusted off one of their flagship models for yet another reissue that offers a great blend of classic features and modern upgrades. The 12″ Celestion G12M Greenback speaker is probably the most notable improvement. You can expect some serious mids and tons of headroom from this speaker. As has been the case for many years, the “Normal” and “Top Boost” channels offer some variety for the overall voicing of the amp. Both of these channels share the master volume and “Tone Cut” controls. This is particularly cool because it means that the Tone Cut control operates on the power-amp level, not the pre-amp. The result is a true tone shaping of the overall amp voice, not the input.
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The Line 6 Vetta II is extremely well designed, well made and sounds fantastic. At 150 Watts, there is more than enough volume and headroom. Whether you plan to use the Vetta II for live performance or recording, the feature set provides plenty of tools for you to sculpt your sound as you wish.
The Line 6 Vetta II is literally two amplifiers in one. At first glance, one might say: “Well, it’s just a stereo amplifier,” and this is true. But more importantly, it is designed so that you can have two completely different sounds going on at once. Of course, you’d probably choose two sounds that are somewhat alike, but in theory, you could have a clean Fender Twin sound and a cranked Marshall Plexi tone combined into one. The combined sounds become one named and saved preset. This is amazing. Just imagine all the possibilities.
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