They’re also packed with features: amp modeling, a cab-simulated direct out, built-in effects with a tap tempo, a tuner, and 3 footswitchable channels. I have run two amps at once where each amp is programmable and MIDI controlled. They also lack the crunch needed for heavier rhythms. How should one split the signal from the guitar? January 1965, with two like-new block logo JTM45 50-watt amplifier heads, in a stack setup. This, therefore, necessitates the use of the guitar amp setting guide. That’s quite bag of technical cats to suddenly put amongst your experimental pigeons, so let’s take a closer look at some of the issues that such a device would help avoid. Some amps—such as the Marshall JCM800 or Mesa Boogie Dual Rectifier—have massive low end and plenty of gain, but lack clarity and upper mid-range punch for cutting through a mix. After saying that, a dual amp rig will give a huge sound with nice complexity to your tone. Is the CABINET “stereo?” In other words, are there two or more speakers in the cabinet that each have their own input and are not electronically connected? i’ve been playing through split channel for years on guitar and bass… this is cool info on the many ways to do it. Dual amps rigs are truly great sounding but also a lot of extra work to set-up and carry around. Signal routing may be a simple task, but lower cost A/B boxes can have problems with silent switching. Employ the usual method for choosing an amp, but execute it as many times as necessary. An A/B/Y box will give you the choice of running each amp individually or both together. Do you have an article about A/B/Y setup where you have 2-3 amps on the clean, 1-2 amps on the dirty, have an optional tertiary style amp that you can rotate in when you want several types going all off at once and using the effects loop when necessary and how to wire all this up so a RJM GT MM can run it all? January 1965, John’s and Pete’s new Marshall 4×12 stacks, each powered by a pair of Marshall JTM45 50-watt amps. Fender Acoustasonic 15. While some DAWs, like Apple’s Logic and Garageband, come with guitar amp simulation built in, most don’t and, great though these bundled plugins are, many people will find that most of the dedicated 3rd party options offer a good deal more flexibility and better sounds. But have you ever noticed that when you run delay, reverb or chorus through your drive or high gain channel on an amp, it doesn’t sound right? I get the straight six strings in the amp and the “octave” strings in the PA, three strings in the left channel and three strings in the right, It’s a HUGE clean sound surrounding the listener all from on guitar. Sometimes they’re custom-made replicas that fold up for easier transport. Whether or not stereo rigs are practical for most of us is an entirely different discussion, but it is, without doubt, an enormously fun way to use multiple amps. In some cases, the extra cabs are purely set dressing and are unloaded (no speakers installed) to save on weight. . They may not be all that sexy, but a well-organized pedalboard is a must for guitarists for both stage and studio use. Simply connect the left output of the effect to the input of one amp and the right output of the effect to the other amp. Setup 2. . A continuous control pedal controls volume on both. I haven’t decided what to pair it with yet though, I thought I’d play through it a while and see what feels right. There are more pedals but the ones I started with never change! Conventional wisdom suggests that the raunchiest of tones can oft be achieved by combining amplifiers that each feature different kinds of output tubes (or voicing, in the case of solid state). A MIDI cable connects the two. Another great option is the Line 6 Relay G70 wireless unit, which combines an ABY switcher, a stage tuner, a boost pedal, and a DI box all within a pedal-format wireless receiver. The dual-DSP-powered Helix combines amp and effects models in a large, rugged floor pedal. I love this writers style! The eq on acoustic amps is slightly different from that on electric guitar amps - and that on bass amps, too. The question of head versus combo has been complicated in recent years by the dawn of the pedalboard amp – a guitar amp that’s housed in an enclosure the size of a small multi-effects, yet often powerful enough to replace your amp head. It’s amazing how many guitarists don’t know how to EQ a guitar amp. Again, one amp can be optimized for the PA system while the other is for standing on its own on the stage. If you’re tight on pedalboard space, the Fender Micro ABY is a single-footswitch, fully functional mini pedal with a slider switch for A/B or Y mode. And yet, all the same benefits! So, let us assume that we have got our signal split, with our amplifiers happily wed, free from any irritating noise save that which we put there intentionally with our twangplank or rumbletruncheon. 8ohm mono or 4ohm/4ohm stereo with a small switch. You can throw it in your backpack and off you go. I can even go two heads into one cab if I want using an old Peavey 412 cab with stereo and mono inputs to cut down on my gear load in or if the stage is too small to accommodate two cabs. And second, if you want it to sound like your old amp, you should probably just use the old amp! I have been known to split signal with chorus or short analogue delay into a Marshall and a small combo cranked to the max. All guitar and bass amps use the same power cable. To begin, don’t start by dialing up the same settings from your previous amplifier, for two reasons: first, the new amp likely won’t sound the same as your old amp. My current project is to mate the Line6 PODHD500 on the floor (that goes to the PA) with the Line6 Flextone on stage. I have always preferred the sound of two at once, but never felt like carrying setting up / sound-checking / the sound check takes twice as long because two amps introduce variables to the room sound. I have used the this set up since 1985 and always got compliments on having the best sound on the sunset strip or where ever we played eventually all over the world! Usually a “Blackface” Fender and either a Vox AC or Marshall (or something based on a Marshall) with a A/B/Y switch. Session guitar players such as Brent Mason often bring four or more amplifiers to recording sessions. Tremonti seems to favor a Mesa Triple Rectifier mixed with one or more from a gnarly lineup that has included Bogner, Dumble and Cornford. One of … Pro Tip: Ensure that the variety of sounds that you are after wouldn’t best be achieved using one amp with some pedals. Oops, looks like you forgot something. The rigors of the road can be rough on amps, and when your main amp dies onstage, a backup can be a worth its weight in gold. Only way I have used so far is having my stereo delay last in the chain and splitting from there. Wet/Dry rigs are often spoken of in hushed tones by those that feel like they don’t already have enough stuff to haul to their gigs. Speaker replicas as used by the Norwegian metal band, Immortal (Image from Gizmodo). Is it imperative that I append new apparatus that exhibits an alternative tubular orientation?”. I have been doing the “two amp” sound for many years. sounds huge and any hum was drowned out by the pesky drumme. Combo amps combine the pre-amp, power amp and speakers in a single unit, whereas heads require external speakers to use. The 10 best amp modelers; Tidy up your ‘board with the 10 best mini-pedals for guitarists Another type of setup uses three cabinets in a “wet/dry/wet” arrangement, with the center amp running your dry (unaffected) guitar signal, and the outer two speakers running a 100% affected signal panned to each side. And that’s with backline amps, cuz I only have one really good amp and the rest are like small practice amps, so even if I would love to, I cant really experiment this at home right now. Having said that, any amp will amplify any electric guitar - and obviously, an electro-acoustic guitar is electric!. That’s quite the vocabulary you have there. That’s how my 2 x 12’s are wired, specifically for this purpose. Your purchases also help protect forests, including trees traditionally used to make instruments. There are just so many variables to consider. Set the tone controls to their neutral positions. I never played two amps, i see no use for me. The experience of playing on a proper w/d/w setup can be mind-blowing, and hearing one in person may well convince you that running 3 amps is worth the trouble. Your purchases help youth music programs get the gear they need to make music. What then, are the basic options for actually belching forth great slabs of music from this multi-mouthed monster? If it’s in your budget and you have room onstage, this is a great approach. Many players use two amps for stereo techniques that require multiple loudspeakers. Chorus rate and depths don’t have to be the same. Other stereo modulation effects, such as flangers and choruses, also make use of multiple speakers in a similar fashion. For example, many delay pedals have stereo outputs for “ping-pong” effects, in which repeats bounce back and forth between a pair of speakers. I have vomited a grotesque puddle of words already, but there are still all sorts of factors that I haven’t touched upon: Multiple amps in a studio environment, daisy-chaining amps, multiple amps sharing one cabinet, plying the venue sound engineer with enough liquor that he’ll agree to mic more than one cabinet, the contempt of your bandmates as your preposterous paraphernalia occupies two thirds of the stage… tips on how to find a good chiropractor. The TonewoodAmp is a revolutionary device that uses an acoustic guitar's own body and soundhole to create a range of enhancement effects. “But,” you persist, “what if I don’t want to run both amplifiers at the same time?”. For example, you could run both amps with wildly different gain and EQ settings, or you could perhaps apply a preposterously short (around 10-20m/s or so) delay before the input of the second amp to give you an agreeably plump “double tracked” sort of sound. No amp. A simple option is to add an effects unit with stereo (or dual mono) outputs at the end of your chain, with one output going to each amplifier. Then plug each of the unit’s outputs into a different power amp, monitor or just into each side of your headphones. These days, it's common for multi-effects to offer amp and even cabinet modeling as well as guitar effects. In fact, there are five good reasons. I come back to this article to enjoy the read from time to time, so well done. In order to try this at home you will need to take a tap from your amp signal and split it off to your effects. Fingrpicking “Dust In The Wind” never sounded so good! Connecting two guitar amps together is a technique that many veteran guitar players use to expand their sound. This lightweight, highly portable guitar amp comes with a mic input, so it … Santa Barbara, California. I saw Eric Johnson many moons ago using a stack of Marshalls (for the more dirty sound) and Fender Twin Reverbs (for his more clean chikin pickin sound) and immediately decided that was what I needed to do… fast forward a few months after some testing. So, how does one go about finding it a suitable mate? Some of these effects sound incredible and do an amazing job of providing players with great sound. When it comes to splitting your guitar signal to feed the inputs of two different amplifiers, the temptation is to just take a $5 Radio Shack “Y” cable and MacGyver that bad boy in there. Set it to 100% wet (the Vapor Trail has a jack just for this) and set the amps on either side of the stage. sounds pretty damn huge. Despite their basic functionality, a good ABY unit can cost as much as any other decent effects pedal. For example, any combination of 6L6 or 6V6GT; EL34 and EL84 tubes – typically characteristic of Fender, Marshall and Vox respectively – has the potential to produce a mighty alliance. Plug out, no play. I always just play through two heads, never switching between the two but if I did switch between A and B, the Morley ABY is quiet. Sometimes I cheat and use a powerful amp – Twin with Orange JBL Speakers 130 watts RMS. I beef up the distortion and low end using a modified Boss GE-7. Since many vintage amp designs (and reissues of these classics) are single-channel, using both a high-gain and a clean amp lets you switch off as needed. Powering Your Amp and Setting Up Your Guitar 1. In simple terms, W/D and W/D/W rigs involve one amp being fed an uneffected guitar signal whilst the effects go to the other(s), typically with the dry signal removed entirely. Just make sure you get a ABY pedal that eliminates ground loops and has a switch to reverse the phase (painful experiences from the past). Whether you’re in the studio or on stage, multiple amps blended together can complement each other. Alternatively you can add a second mic to your “dry” cabinet, add stereo effects to that and run the resulting signal direct to the board, à la Eric Johnson. I would just send each signal to its own separate amp if you want and can work with 2 amps. A guide of presets and amp settings that are best for Marshall or Fender amplifiers, with EQ for rock, blues, grunge and a variety of other tones & styles. The way I use different Amps? Most guitar players have effects either in the form of single pedals or multi effect processors. Using a two amp rig is awesome. Also rather informative article. Rather than “fighting” each other and canceling out the signals to make the amps sound thin and reedy, the pair will sing harmoniously. My fave trick is to get two amps with tremolo and run them simultaneously with the tremolo on each amp set a little different. The idea is that you still get your huge delays and reverb, but without the muddying of the main guitar signal. Mostly in P90/humb-channel I use crunchier tone amp (Peavey Classic) with normal reverb and with single coils a cleaner sounding Line6 with some tremolo and delay. No cables. I run channel A into my 5150 Signature through the low gain input with the gain set on around 2 and the B channel into my 5150 II with the gain set on around 4.I don’t set the gain on too high on the amps so I can prevent any hiss from the heads, which is cut down already anyway because Before the ABY is a Boss NS-2. Most of us probably don’t start out with a vast array of amplifiers to choose from. If you have a posse of enormous roadies, you could even go all Mark Tremonti and have a couple of amps for your clean tones (often Fender combos, in his case) and then an A/B/Y setup … When you plug into two amps, you’ll often hear a strong humming sound that vibrates out of your speakers. Hello.. To be 100 % honest I’m not really sure how the wires are connected. When you go see touring acts perform, you may notice that many pro players use two or more amps live. Do NOT use an A/B/Y splitter box etc. I use 2 ADA “half cabs” (makes transportation easier). Quite simply, multiple amps can look cool on stage. This Roland modeling guitar combo amp has five different built-in effects and is capable of providing amp tones suitable for playing across a diverse range of genres. In our unending quest to forge a guitar tone that sounds like somebody opening the Ark of the Covenant inside a tyrannosaurus, many of us will eventually find ourselves considering the possibility of using more than one amplifier. Plug one guitar normally into the amp, and the other into any digital amp simulator. This signal is then passed to a separate stereo power amp (or two mono amps) which can output the stereo effects into your “wet” speakers. And I’m thinking in get a JCM800. So might look into that A/B/Y gizmo gadget thingy . If you prefer live backline for monitoring but still want something small and affordable, one great choice is a Roland Cube, such as the Cube 40GX. Multiple stereo tremolos… you get the idea. Bridge pick up goes to one amp, and the neck to another amp. And they might just make perfect sense for your rig, too. what this setup gives me is a 3 channel preamp with two tube type power amps. This is actually what I often do, which is probably why I’m going to such pains to justify it as a valid option. By clicking Subscribe, I agree to the processing of my data in order to receive emails. Stomp boxes that commonly feature stereo outputs include chorus, delay and reverb. It took me years to understand its real value for a tone that cuts through the mix. A guitar amp will boost the sound of your guitar though with the wrong setting, on the other hand, it will distort your music. There are a massive 1,024 preset locations onboard the Helix, organised into eight setlists that contain 32 banks with four presets each. Ca. I use a few other pedals as well. A backup amp should ideally match your primary amp as closely as possible, and many guitarists do use a matching pair in this way. By blending these two tones, you can achieve the best of both worlds. This gives you the variety of textures possible with differing gain, EQ and voicing as discussed above. Three apply to both stage and studio, and two are more applicable to live performance. A/B is the most basic configuration. guitarists plugged their favorite tape delays and spring reverb effects directly into the front of their amps Always keep a load on the tube amp! nicely written too. That being said, it is an enterprise that is not without its challenges. Not all amps have an effects loop, but if yours does, you … My rig is split from the last pedal on my mainboard (boss DD3) with dry to a Peavey classic 50 212 combo, and wet to a Carvin X-60 halfstack (old Acoustic 4×12 cab.) A/B/Y is the same as A/B but you also get to run both amps at once. Usually, only a few of these cabinets are actually mic’d. I can blend and mix and match, love it! If you want to use two amps simultaneously, there are some things you need to know before you flip on those power switches. I know the purists frown upon digital modeling but it does the job for me. In any case, for our purposes we can define a ground loop thus: “an obnoxious hum in your rig, probably caused by a demon or something.” The best way to get rid of this hum – short of perhaps an exorcism – is to isolate one of the amps from the ground (route to earth) of the other. UNDER NO CIRCUMSTANCES should you try to be clever by removing or “lifting” the line ground from one of your amps. the tone is more full,and sounds great, I use 2 stereo amps and they each have a stereo aux in bypassing the preamp (so stereo amp to cabinet) ch ,so like 4 amps instead of two, easy to mix guitar loops into aux in;s and regular guitar into normal ch. Marshall and Fender often work well together, as does the high-end of a Vox with the bottom half of a Fender. Well that’s an entirely different kettle of fish. Sounds amazing…. These are reliable, lightweight, surprisingly loud, have a small footprint, and are low cost. Plug in, Play. Other stereo modulation effects, such as flangers and choruses, also make use of multiple speakers in a similar fashion.