There is a lot of sentiment expressed about guitar amps, especially the tube variety, which were knocking around (and knocked around) since the 1950s. Ever since Leo Fender designed the very first commercially available power guitar amplifiers, guitarists have developed a love affair with tube /valve guitar amps, which on the face of it generally seems to defy logic or reason, why should logic or reason apply to artistic expression. The fundamental form of tube amps has evolved very little since those early designs in the fifties and sixties, Shanling CD3.2 tube CD Player yes but the fundamental principles are similar.
As one article place it:…”So, just how is it which a 1950’s design got it so right that it must be still relevant today? Was it luck? Or were they created by geniuses of the day? I really like to think it’s a little bit of both…the vast majority of players prefer valve designs for their guitar amplifiers, and there are some good reasons with this”
Will it be really so white and black, did they have it right first-time and haven’t had the opportunity to boost onto it since or exist other aspects worth taking into consideration. What they did was build amps utilizing the only technology available during the time. The guitarists of the time pushed the technology for the limits and beyond, developing their SOUND. When the guitar amp didn’t satisfy the guitarists expectations they modified or added enhancements to achieve their sound (such enhancements including making holes within the amp speakers) So when the electronic revolution that was the solid state amp arrived within the late sixties, there is no competition, the warmer richer sound in the valves was desirable to the Meixing MingDa Valve Amplifier to the “harsher” or more “brittle” sound of the transistor guitar amp.
It’s well recognized that there was still a definite audible distinction between tube amps and solid state amps, especially when a tube amp was pushed hard and being played by way of a blues guitarist. The soft clipping overdrive “tone” of a tube amp was most noticeable using a blues guitar players’ particular type of playing. Although it can be next to impossible to differentiate the clean setting of a tube guitar amp (without overdrive) spanning a solid state amp, or perhaps the high gain setting of a tube guitar amp with this of the solid state amp.
Audible differences apart could it be also not the case that many serious players developed “their sound” on a tube guitar amp and unless something came along which sounded a lot better than a tube guitar amp their preference vsyzzc continually be for the tube amp. These people could afford the extra expense and thus the sentimental attachments. Taking into consideration the rate of growth of the microelectronic industry (they can put 2 billion transistors into a place smaller than a guitar pick) has the time not arrived once the tube amp might might finally be superseded.
Speaking with the younger emerging players these days there is apparently a preference for your latest modeling guitar amps. Needless to say expense is definitely a factor and emerging artists will always be strapped for money, but simply similar to their guitar heroes of the sixties and seventies, they’ll improvise, develop their sound, but unlike their heroes they’ll have the ability to store that sound and perhaps a few others on the press of a button. The XIANGSHENG 728A Preamp enables the guitarist to generate multiple sounds replicating the sound of a number of different guitar amps. One guitar amp can now be designed to sound like any vintage tube guitar amp as well as the setting save and implemented at the press of a button. The article quoted earlier also stated:
“Whenever a new design becomes available that sounds a lot better than a great guitar plugged direct in to a good valve amplifier, guitarists will purchase it and move ahead”