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. I have a very cheap amp. There’s also a purely practical reason to tour with multiple amps: failure. Despite their basic functionality, a good ABY unit can cost as much as any other decent effects pedal. Some higher-end modelers, such as the Line 6 Helix, can model multiple amps, cabs, and mics at once for blending tones, too. And yet, all the same benefits! Tremonti seems to favor a Mesa Triple Rectifier mixed with one or more from a gnarly lineup that has included Bogner, Dumble and Cornford. The eq on acoustic amps is slightly different from that on electric guitar amps - and that on bass amps, too. Many players use two amps for stereo techniques that require multiple loudspeakers. Pro Tip: Ensure that the variety of sounds that you are after wouldn’t best be achieved using one amp with some pedals. This technique allows you the ability to use two different-sounding amplifiers to create a fuller guitar tone. 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. “What about digital amps and modelers?” you further probe. This is actually what I often do, which is probably why I’m going to such pains to justify it as a valid option. 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. Its kinda fun, but I do worry that people close to the stage or not centered will not get whats going on. 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. Very informative and brilliantly written, i do love humour such as this, thanks! “If I may I interject?”, you interject, “What if I have hitherto maintained a brace of amplifiers with thermionic valves from the same sub-species? You can throw it in your backpack and off you go. 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. Set the tone controls to their neutral positions. Using a two amp rig is awesome. Thwart the nefarious electrickery of the Reaper – use a buffering device or isolation transformer instead. Ca. Modelers are typically the most practical (and affordable) way of experimenting with different “amplifiers.” Many systems, including the Line6 Pod HD series and Fractal’s Axe-Fx, will let you run virtual rigs with two amps, usually allowing you to pan each one to a different output. when I’m working with split signals in my POD, what about panning?? sounds huge and any hum was drowned out by the pesky drumme. Set up a separate cabinet and head if necessary. 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. I really enjoyed reading that. Failing that, an amp or power-soak’s direct-out (DI) can sometimes work. This gives you the variety of textures possible with differing gain, EQ and voicing as discussed above. I go the whole hog & run three amps (two Vibro Champs & a Blues Deluxe) through a Morley three-way switch. 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. It’s amazing how many guitarists don’t know how to EQ a guitar amp. Chorus rate and depths don’t have to be the same. As many recording artists and studio engineers know, your amp is often a more important factor in your overall tone than your guitar, and different amps have vastly different characters. Do you find the benefits outweigh the technical and logistical challenges? 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? Many players consider a vintage Fender combo to be ideal for clean tones and an iconic Marshall to be the classic dirty sound. You will get some slight attenuation of the signal, similar to backing off the guitar volume a touch, but this method is probably the easiest way to dip your proverbial toe in the proverbial water. George Lynch has been known to favor this method (he even has his own signature pedal for such capers), and many other players switch between different amps for different sounds. Other stereo modulation effects, such as flangers and choruses, also make use of multiple speakers in a similar fashion. nicely written too. I like the POD XT because of its dual sound capability. Connect the power cable of the 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. The “multiple amps sharing one cabinet” is my headache at home right now… I use a POD X3 (clean signal) and use L/R to each amp (Randall solid state amp and 5150 tube amp) and I get a high pitched demon-noise from the speaker. . The Different Types of Guitar Amp Attenuators Passive Amp Attenuators. That being said, it is an enterprise that is not without its challenges. The dual-DSP-powered Helix combines amp and effects models in a large, rugged floor pedal. EQing your guitar amp is the quickest and easiest way to sound amazing quickly. Other amps—like the airy open-backed Fender combos or the crystal-clear Roland JC120—have plenty of high-end sparkle with excellent attack and articulation on chords, but are too clean to generate much sustain. 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. 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