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. “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? So might look into that A/B/Y gizmo gadget thingy . 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? 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. i may have misread some of this but what if you are to delay the amps of each other? One of … In any case, you can definitely create splendid tones with similarly voiced or even completely identical amplifiers. There's nothing else like it—the first and only, the TonewoodAmp is a must-have device for any acoustic guitar player. 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. Joe Bonamassa's rig for a show at Red Rocks (Image from Twitter). 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. For example, many delay pedals have stereo outputs for “ping-pong” effects, in which repeats bounce back and forth between a pair of speakers. Copyright © 2020 Seymour Duncan. The idea is that you still get your huge delays and reverb, but without the muddying of the main guitar signal. 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. All guitar and bass amps use the same power cable. 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. The best combination is a fuzz tone with lots of bass and treble in one channel combined with a modern high gain with no treble and mids all the way up in the second channel. and haven’t looked back since – works AMAZING! There are more pedals but the ones I started with never change! Its kinda fun, but I do worry that people close to the stage or not centered will not get whats going on. What then, are the basic options for actually belching forth great slabs of music from this multi-mouthed monster? In an A/B situation you should simply choose whatever amplifiers make your desired noises by themselves. If you run a lovely stereo chorus before an overdrive, for example, you’re only going to be able to plug one of the former’s outputs into the latter. No – joke. An audible “pop” is not only distracting musically, but can damage sound equipment. sorry for bad english. Your purchases help youth music programs get the gear they need to make music. Usually in solo I just put vol pot in P90/humb-channel from 7 to 10, and it sings beautifully. Keyboard players have been doing this a long time to fatten up their sound(s). 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! 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. when I’m working with split signals in my POD, what about panning?? Usually a “Blackface” Fender and either a Vox AC or Marshall (or something based on a Marshall) with a A/B/Y switch. Which combination of amplifiers is best? Please check the fields highlighted in red. Bridge pick up goes to one amp, and the neck to another amp. 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 for your heavy rhythm and leads. Most guitar players have effects either in the form of single pedals or multi effect processors. 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. . So, how does one go about finding it a suitable mate? If I play normal mono guitar and want both amps playing I just use multieffect stereo pedal. 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. I love my sound and the ABY was the best thing I ever did as far as playing live is concerned. In all likelihood, you already have a favorite amp that you have sworn you will never part with, perhaps funded by the knee-jerk eBay sacrifice of the previous amp that you swore you would never part with. (w stereo out put jacks) 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. This technique allows you the ability to use two different-sounding amplifiers to create a fuller guitar tone. Buy a Y-cable with ¼-inch male end and two ¼-inch female ends. I play in a duo with a telecaster that has a Roland pickup on it, The Roland pickup goes to a Roland VG-88 multi-fx that goes stereo into the PA. the guitar’s output goes to a BOSS SE-70 multi-fx into a small amp on stage. 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. Not all amps have an effects loop, but if yours does, you … 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. This is a how to video on how to set up one, or multiple guitar effects pedal(s). Sometimes they’re custom-made replicas that fold up for easier transport. But more amps means more gear to haul, more time spent setting up and tearing down, and more open mics, which can cause feedback and phase issues. Multi-amp guitar rigs use two or more amplifiers to create a unique tone that could not be achieved with the use of only one amplifier. And second, if you want it to sound like your old amp, you should probably just use the old amp! Only way I have used so far is having my stereo delay last in the chain and splitting from there. 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. Sounds amazing…. sounds huge and any hum was drowned out by the pesky drumme. 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). The 10 best amp modelers; Tidy up your ‘board with the 10 best mini-pedals for guitarists 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. Multiple stereo tremolos… you get the idea. 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. Fender Acoustasonic 15. “But,” you persist, “what if I don’t want to run both amplifiers at the same time?”. This is actually what I often do, which is probably why I’m going to such pains to justify it as a valid option. 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. You only run one amplifier at a time, switching between the two with an A/B box. And I’m thinking in get a JCM800. You will need a stereo effect unit, typically identifiable by it having twice as many output sockets as its mono brethren. I use about 16 different sounds on each unit – each sound on the VG-88 is paired with it’s “mate” on the SE-70. hope you like it, like/comment/subscribe, many more videos to come! Powering Your Amp and Setting Up Your Guitar 1. In any case, the upshot is that if the invisible sound bacon of your two amplifiers collide at a disagreeable point in their oscillations, you will experience what is known, in technical circles, as a “meh.” This usually presents itself in the form of sub-optimal roar, but can quickly be thwarted by reversing the phase of, or adding a minuscule delay to, one of the channels. Nick, I learnt nuttin’ ’cause I was laughin’ 2 hard whilst reading it. There are just so many variables to consider. These are reliable, lightweight, surprisingly loud, have a small footprint, and are low cost. 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. “What about digital amps and modelers?” you further probe. ) stack but replaced it with a peavy 5150. A backup amp should ideally match your primary amp as closely as possible, and many guitarists do use a matching pair in this way. I use 2 ADA “half cabs” (makes transportation easier). Having said that, any amp will amplify any electric guitar - and obviously, an electro-acoustic guitar is electric!. EQing your guitar amp is the quickest and easiest way to sound amazing quickly. Speaker replicas as used by the Norwegian metal band, Immortal (Image from Gizmodo). Do audience members regularly compliment you upon the unparalleled enormity of your invisible sound bacon? I’m thinking either a Vibrolux/Super/Pro Reverb or a JTM-45. Do you find the benefits outweigh the technical and logistical challenges? 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. 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. A/B/Y is the same as A/B but you also get to run both amps at once. January 1965, with two like-new block logo JTM45 50-watt amplifier heads, in a stack setup. I never played two amps, i see no use for me. Plug out, no play. Is it imperative that I append new apparatus that exhibits an alternative tubular orientation?”. I beef up the distortion and low end using a modified Boss GE-7. 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. 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. 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. simple. Again, one amp can be optimized for the PA system while the other is for standing on its own on the stage. Whether you record at home, gig at local venues, or tour the globe, using multiple amps is not only smart in case something goes wrong, but opens the door to a whole world of dynamic tonality, too. Many amps you purchase … That’s how my 2 x 12’s are wired, specifically for this purpose. Using multiple amp mics isn’t hard, but there are a few things you need to think about before the red light goes on. Signal routing may be a simple task, but lower cost A/B boxes can have problems with silent switching. 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). It’s amazing how many guitarists don’t know how to EQ a guitar amp. First, decide on the kind of mic that will work with its partner. Guitar amps are the heart of your guitar tone. 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. 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. Using a two amp rig is awesome. Unlike an amplifier for an electric guitar, an acoustic amp doesn't create the sound. A/B is the most basic configuration. 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? Many players consider a vintage Fender combo to be ideal for clean tones and an iconic Marshall to be the classic dirty sound. Well that’s an entirely different kettle of fish. 335” Carlton. Why do you suggest either side of the stage? Other stereo modulation effects, such as flangers and choruses, also make use of multiple speakers in a similar fashion. In a fault scenario, the resulting electric shock could very easily kill you stone dead. I use a Morley ABY pedal (around USD 50.00) as the last in my chain on the pedal board. Instead, the acoustic guitar amp is designed to reproduce the natural sound of the guitar as accurately as possible, working in tandem with your chosen pickups. nicely written too. These days, it's common for multi-effects to offer amp and even cabinet modeling as well as guitar effects. They also lack the crunch needed for heavier rhythms. 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 … Awesome article. 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. This software comes with 24 different amp cabinets and multiple parameters to practically change your sound in any way possible. ( w stereo out put jacks ) Bridge pick up goes to which amp you. 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