Den stora Thomann Online-Rådgivaren: Guitar Amps

2. History

Prehistory
(1920-1950)
Early electric guitars were no more than acoustic guitars with primitive magnetic pickups attached. Their goal was simply to create an amplified version of the acoustic guitar sound, but neither the pickups nor available amplification and speaker technology were really up to the job, and even at this time the electrified guitar had a distinctive sound of its own. It was not until the Fifties though that this would begin to be seen as a virtue.

Fifties

The near-simultaneous emergence of Fender and Gibson’s revolutionary solid-body guitar designs necessitated the parallel development of dedicated guitar amps. Both companies entered the market, although Fender’s contribution is far more significant from today’s perspective. At this point, any form of distortion was still seen as undesirable - though a flat and uncoloured sound may have been sought, it was certainly not achieved.

Early Sixties


Along with their choice of guitars, the Beatles’ early career is closely identified with the clean and clear sound of the Vox AC-30 amplifier, and Vox amps were widely adopted by anyone who could afford them. The ever-increasing size and noise of audiences forced bands to turn up as loud as they could, often using several amps chained together. It’s no coincidence that the sonic possibilities of distortion and feedback were first discovered around this time, though only later in the decade would they begin to be exploited fully.


Late Sixties

The ‘throw away the rulebook’ spirit of the Sixties was nowhere more influential than in the recording studio - in this arena The Beatles led and all others soon followed. Early examples of guitar-based sonic creativity include the famous feedback introduction to ‘I Feel Fine’ (’64) and the fuzz bass on ‘Think For Yourself’ (’65). By 1966, The Beatles’ seminal ‘Revolver’ album featured a number of tracks with distortion, and the Stones’ huge hit ‘Satisfaction’ was based around a simple three-note distortion riff. Almost every big hit during the rest of the decade was built on overdrive, from The Lovin’ Spoonful’s ‘Summer In The City’ to Cream’s ‘Sunshine Of Your Love’, and of course most of Jimi Hendrix’s work.

Sixties distortion was achieved either by turning the guitar amp up to full volume – equipped with just a single volume control at the time – or by using a new invention; the ‘fuzz box’. Nowadays, distortion pedals are a commonplace part of every guitarist’s setup, but their novelty in the late Sixties cannot be overstated. The very idea of guitar ‘effects’ was in its infancy, but a few units had a profound impact on the sounds in the charts, including various distortion/fuzz pedals, Hendrix’s wah wah, the Leslie speaker cabinet and various tape-based delay units such as the WEM Copycat.


Early Seventies

The happy accident that led guitarists to discover distortion in the Sixties had one unfortunate side effect - the sound could only be produced at deafening volumes. The fuzz box was one solution to this problem, and amp manufacturers also responded by adding a master volume control to their designs. This enables the preamp section to be cranked up sufficiently to produce distortion, while the power amp volume is reduced to compensate. On most modern amps these controls are labelled ‘gain’ (preamp) and ‘volume’ or ‘master’ (power amp).

Late Seventies– Present

While heavy rock got heavier and heavier from the Seventies to the Nineties, other styles emerged which explored the possibilities of marrying cleaner sounds to the rapidly expanding array of available effects. Many Eighties rock bands including The Police and U2, would have sounded very different without digital delay and chorus. For all but the heaviest of shredders therefore, a versatile amp today, is one capable of producing both clean and overdriven sounds at high volume.
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Guitar Amps översikt

Dante AVIO Analog Output Adapter 0x2 C.Giant LP-6210C Black Electro Harmonix Oceans 11 Reverb Steinberg UR-RT2 Presonus Studio One 4 Pro UG Prof/Prod Vic Firth SIH2 Roland TM-6 Pro Drum Trigger Module TritonAudio FetHead Fender SQ J.Mascis Jazzmaster 2018 Dante AVIO Analog Input Adapter 2x0 Marshall Major III Bluetooth Black Harley Benton TE-7 FanFret FBB 2018 DLX
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Dante AVIO Analog Output Adapter 0x2

Y Adapter Enables the output of analogue audio line signals from a Dante network, RJ45 Metal plug with built-in LEDs, 2 XLR male outputs, 96 KHz / 24 bit, Robust housing for day-to-day tasks while touring, Fully functional Dante...

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C.Giant LP-6210C Black

Keyboard 61 Keys with touch dynamics, 162 Sounds, 200 Rhythms, 61 Percussion effects, 50 Demo songs, Fill-in, sync and rhythms variations, Split function, Chord, Recording, Pitch bend wheel, Microphone input, Line out sockets, Headphone output, Sustain pedal connection, USB...

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Electro Harmonix Oceans 11 Reverb

Electro Harmonix Oceans 11 Reverb, effects pedal, 11 different reverb types: HALL, SPRING, PLATE, REVRS, ECHO, TREM, MOD, DYNA, AUTO-INF, SHIM and POLY, Tails switch: Select whether the reverb fades out naturally or stops immediately when the pedal is switched...

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Steinberg UR-RT2

4x 2 USB 2.0 Audio Interface Up to 24-bit/192 kHz, 2 Class-A D-PRE microphone preamps with + 48 V phantom power, Rupert Neve Designs transformer switchable on each front input channel, 2 Analog XLR/jack combo inputs plus 2 line...

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Presonus Studio One 4 Pro UG Prof/Prod

Audio MIDI Sequencer (DAW) (download) Upgrade from Presonus Studio One Professional 1-3 / Producer 2 to Studio One 4 Professional Sleek single-window philosophy, Consistent drag-and-drop functionality throughout, Project page allows integrated mastering with DDP export, Redbook...

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Vic Firth SIH2

Vic Firth SIH2 isolation headphones, (reduces overall noise levels by 25 dB). successor of the legendary Vic Firth SIH-1 headphones, features redesigned larger driver in the ear cups that deliver a more powerful low end, cleaner mids and clear highs...

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Roland TM-6 Pro Drum Trigger Module

Trigger Module For acoustic drummers who want to extend the sound possibilities of their drums with electronic sounds, 500 one-shot sounds, 268 V-Drum sounds, 80 Drum kits, SDHC card slot for importing your own samples, 6x 6.3 mm stereo...

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TritonAudio FetHead

TritonAudio FetHead, in-line microphone preamplifier, XLR 3-pole female XLR 3-pole male, ultra low noise Class A JFet amplifier, 27dB amplification (@3 KOhm load), 4 matched JFets, 24-48V Phantom Power required, for Ribbon & Dynamic microphones, shields phantom power from...

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Fender SQ J.Mascis Jazzmaster 2018

Electric Guitar J.Mascis (Dinosaur Jr.) Artist Model, Body: Basswood, Neck: Maple, Fretboard: Indian Laurel, Neck profile: C, 21 Jumbo frets, Nut width: 42.5 mm, Scale: 648 mm, Pickups: 2 Jazzmaster single coils, Adjusto-Matic bridge with vintage style floating tremolo,...

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498 €
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Dante AVIO Analog Input Adapter 2x0

Dante AVIO Analog Input Adapter 2x0; converts analog audio line signals to feed any Dante-connected system; 96 kHz / 24 Bit; fully-functional Dante interface; adjustable signal levels: +24dBu / +4dBu / 0dBu/ 0dBV /-10dBV (through Dante Controller); frequency Response: 20Hz...

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Marshall Major III Bluetooth Black

Marshall Major III Bluetooth Black stereo headphones, on-ear design, closed back, foldable, Bluetooth® aptX Technology, up to 30 h running time, control knob on headphone, 40 mm moving coil dynamic speaker, newly constructed hinges and headband for a better fitting,...

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Harley Benton TE-7 FanFret FBB 2018 DLX

Harley Benton"TE-7 FanFret FBB 2018 DLX, 7-string Fanned Fret electric guitar, TE-Style with reversed headstock, body: ash, top: Flame Maple, neck: 5-ply maple/nato neck, neck mount: bolt on, neck form: Modern C-Profil, fingerboard: Roseacer, inlays: offset DOT inlays, 24 fanned...

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