Jun 14th, 2017
To be honest, although I play guitar, many guitars and many variations of pickups and strings which make big differences no doubt, a bigger issue is that all these fancy amps really share very common similar designs (ie the tube circuits actually are more similar than truly unique to each design). Really what is different (what you hear is different) are simple different equalization (like having a little 7 band equalizer pedal to change tonal balance of the guitar) built into the secondary tube stage. The tubes add very little character. Infact the tubes run at high voltage to maximize signal gain, without distorting. Really.
For example: Marshall cranks up the equalization of the high end, 3 or 4 capacitors or resistors in this circuit different from a Fender, whatever. Then the output transformer with a certain speaker load gives more midrange, brightness, fuzz. For example a celestion type driver with thin lightweight linen/paper cone has more “crank” and squawking tone (ie fat midrange). An old Fender often used a very thick pulp paper vacuum molded cone for warm plucky sound, less efficient, easier to overdrive. It’s better for rhythm guitar. Celestions which scream more are nicer for lead guitar to cut through the band.
Seldom does the tube circuit actually overload or distort by design. Infact Leo Fender wanted no distortion as he knew pickups, playing style and speaker type was the nicer way to achieve tone. Especially with 3 band EQ, but it’s better to have 4, 5, 7 band EQ to get your specific tone to match your playing style and tweak the best, enhance frequency tones from your pickup.
It’s very obvious heavy or light string, or near or far away picks (muddle, tail position) make more differences than any tube circuit itself. Now don’t get me wrong, I am a 40 year experienced tech about this whole matter, love the history, the nostalgia, and more so the players and what they have performed. Yes some combos of guitars, amps, and players have the magic, but such is an expensive way to achieve a limited performance effect, you know the “stack” does a few things well, but that’s it.
I myself prefer many modern pedals which achieve stunning results and are extremely versatile. My acoustic guitar with piezo pickups (wider frequency and dynamics, and more body and string “tone”) gives me more signal to manipulate into sounding almost like a Strat, Alembic bass, or whatever. Really amazing. I fool professionals at my studio with such clever and inexpensive effects boxes. Be aware most of these “boutique” $200-$300 pedals are nothing more technically than what is offered by Behringer, Zoom, or wow, wow, wow, Electro Harmonix. Truly the real deal boutique product. I own, I kid you not, 60 pedals in various guitar rigs at home. One different way to approach versatility without high cost. Very high cost.
Ultimately it’s about your sentiment to have a classic rig to get a specific look and feel of playing, or you want to be more creative and invent new tones and textures as well as do a decent job of emulating vintage. I’m OK with both, but don’t insist that only a certain combo is the only way. I think it limits creativity. Hear my goofy stuff on my A.P. Mix (under AP Mix on the website). It’s mostly done with one guitar, one or two “performance artist” takes with a 200 looper pedal. I’m a little limited for complex chord play (arthritis) but really a piano player.
Thanks
Vince