There is lots of sentiment expressed about guitar amps, specially the tube variety, which were knocking around (and knocked around) since the 1950s. From the time Leo Fender designed the initial commercially available power guitar amplifiers, guitarists have developed a love affair with tube /valve guitar amps, which on the face of it appears to defy logic or reason, but why should logic or reason apply to artistic expression. The basic form of tube amps has evolved hardly any since those early designs within the fifties and sixties, Shanling A3.2 Amplifier yes however the fundamental principles are identical.
As you article place it:…”So how could it be that a 1950’s design got it so right that it is still relevant today? Was it luck? Or were they developed by geniuses during the day? I like to think it’s a little bit of both…nearly all players prefer valve designs for their guitar amplifiers, and there are some reasons for this”
Will it be really so white and black, did they obtain it right very first time and haven’t had the opportunity to boost on it since or are available other aspects worth looking at. Whatever they did was build amps using the only technology available at the time. The guitarists of times pushed the technology for the limits and beyond, developing their SOUND. If the guitar amp didn’t fulfill the guitarists expectations they modified or added enhancements to accomplish their sound (such enhancements including making holes within the amp speakers) When the electronic revolution that was the solid state amp arrived within the late sixties, there was no competition, the warmer richer sound in the valves was preferred by the Mingda Tube Amplifier to the “harsher” or more “brittle” sound in the transistor guitar amp.
It’s well recognized that there was still an absolute audible difference between tube amps and solid state amps, particularly 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 with 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 even the high gain setting of a tube guitar amp with this of a solid state amp.
Audible differences apart will it be also not the case that a lot of serious players developed “their sound” on the tube guitar amp and unless something emerged which sounded a lot better than a tube guitar amp their preference vsyzzc often be for that tube amp. They can afford the additional expense and therefore the sentimental attachments. Taking into consideration the rate of growth of the microelectronic industry (they could put 2 billion transistors into an area smaller compared to a guitar pick) provides the time not arrived when the tube amp might might finally be superseded.
Talking to the younger emerging players nowadays there appears to be a preference for that latest modeling guitar amps. Needless to say expense is always a consideration and emerging artists are always strapped for cash, but simply like their guitar heroes of the sixties and seventies, they’ll improvise, develop their sound, but unlike their heroes they’ll have the capacity to store that sound and maybe a couple of others in the press of the mouse. The XIANGSHENG 728A Preamp enables the guitarist to produce multiple sounds replicating the noise of many different different guitar amps. One guitar amp can now be designed to appear to be any vintage tube guitar amp and also the setting save and implemented on the press of a button. This article quoted earlier also stated:
“Each time a new design becomes available that sounds better than an excellent guitar plugged direct into a good valve amplifier, guitarists will buy it and move ahead”