THE HARP AMP MINI-FAQ
By Randy Lilleston, randyl@netcom.com
Introduction:
This FAQ is intended as a primer in selecting an amplifier for
use when playing harmonica. It is *not* intended to be a be-all, end-all
source of information about music amplifiers. A better source of that
information is the "Musical instrument tube amp building, maintaining
and modifying faq," available at http://www.wwu.edu/~n9343176/ on the
World Wide Web.
It also makes use of a number of broad generalizations. That is
a necessity. Much information about amps is subjective, which is why
there's so many of 'em out there. Your best bet is to try several and
decide what you like. Hopefully, though, this will help.
--------------------
Q: What is a "harp amp?"
A: A harmonica amplifer, or harp amp, is almost always a guitar
amplifier that may or may not have been modified for use with a
microphone in playing a harmonica. Guitar amplifers, particularly tube
ones, are popular because for many people, they produce a warmer,
fuller, and less harsh sound than running a microphone through a PA
system when playing harmonica on stage.
Q: What kind of amps are there?
A: Because there's so many out there, lett's break down the
discussion into several broad choices.
First of all, tube amplifiers are almost always the choice of
harmonica players who use amps instead of the PA system. This is because
of the softer, rounder nature of tube clipping when the amps are
overdriven. Transistor amps generally have edgier, harder distortion
with harmonics that are not as pleasing to the ears.
We'll break down the amps into three categories: Small amps,
with low power and one small speaker; medium amps, with mid-range power
(up to, say 50 watts) and one or two speakers; and monsters, with at
least 50 watts of power and generally two or four speakers.
So, let's start:
SMALL AMPS: There is a large school of harp players, particular
those who play mostly in small bars, who prefer small amps.
Their advantages: They're easy to carry around, they overdrive
easily without feedback, they're cheap and they sound cool.
Their disadvantages: They usually have to be mic'd back through
the PA system to carry over the band, some aren't even loud enough for
the harp player to hear on stage unless he has a PA monitor, and their
heavy overdrive is more than some folks want.
I personally think little amps are cool, even if I don't use
them on stage myself. Popular ones include the Fender Champ,
particularly the old tweed ones from the 1950s and the 1960s; many small
Gibson amps, almost all of which are wonderful (try the Falcons some
time, for example); and the Fender Princeton, particularly the brown and
black faced ones from the early 1960s (popular with Big Walter Horton,
among others). Many other makers made cool ones as well, including Ampeg
and Silvertone.
These amps all feature 8- to 12-inch speakers and anywhere from
five to about 25 watts.
MEDIUM AMPS: Most of the best-known of these are Fenders,
including the Vibrolux and Tremolux series, the Vibroverbs, the Pro
Reverbs and so on. Peavey makes some good ones in their "Classic"
series. Silvertone made an excellent amplifier in this range in the
1960s, known as the Twin 12, that's cheap and popular with harp players.
Most amps in this range have 10- and 12-inch speakers, sometimes
in combination, with the occasional 1-15 configuration. Most push out
about 35-50 watts.
Advantages: They have a little less overdrive for a slightly
cleaner, "bluesy" sound, they can be heard on stage and generally are
loud enough to play over a band without additional help from a PA
microphone. Disadvantages: Less overdrive (some folks *don't* like
this), heavier to lug around, take up more room on stage, cost a bunch
more money (usually).
LARGE AMPS: They start at about 50 watts and go up, and usually
have a 4x10 or 2X12 speaker combination (occasionally 1X12 or 1X15). For
harp players, the Modern God of Amps, the late 1950s tweed Fender
Bassman, is in this range, with its four inputs and 4X10 speaker
combination. Fender has offered a reissue of this amp for several years;
although it sounds "harsher" to most ears than the original, it is very
popular with many harp players (including me).
Amps here include the aforementioned Bassman and its
semi-updated new brother, the Fender Blues DeVille; the Fender Super
Reverb and older Fender Concert; the 100-watt Fender Twin Reverb; some
amps in the Peavey Classic line; some Mesa Boogie amps and the monster
Marshall stacks.
Advantages: You WILL be heard. If these amps aren't loud enough,
you're killing your audience - tell the rest of the band to turn down.
Very full sound on chords. These amps generally are heavy duty and made
to be lugged around and abused. The Fenders, in particular, are
incredibly popular with harp players; premium Bassman, Super Reverb and
Concert amps fetch high prices.
I've never heard a harp player chug through a Marshall stack,
which is a sonic monster of an amp. These babies are loud enough to make
your eardrums bleed.
Disadvantages: They can be hard to overdrive without really high
volume (particularly the Fender Twin, which is designed to be a "clean"
tube amp). They weigh a lot - and some of them weigh A LOT. Tube
replacement in the 100-watt amps will hurt your pocketbook. In some
instances, they're just too much amp.
The Bassman, Super Reverb and Concert amps are the current
choice of many pros. Virtually every major harp player uses or has used
one of these amps.
Q: How do I choose one?
A: Decide what sort of sound you're looking for and try out a few
amps. See if your music store or purchaser will allow you to try the amp
out on a gig - it's really the only way to make sure that what you have
will do what you want.
One distinct advantage of small amps here is that you don't have
to worry about them "punching" through the band. You just use a
microphone or direct line to run their output through the PA system, and
then adjust the system accordingly. The problem with this is that the
person running the PA for your group may not make your harp as loud as
you want it. Sometimes, this arrangement also annoys vocalists. Some of
them can be pulled off-key by the harp (or so they insist).
You also may be best off in looking for used equipment. Besides
being cheaper in many circumstances, used equipment has several
advantages.
First, many musicians believe the old tube amplifiers, with
their point-to-point wiring and (in some cases) American-made tubes, are
better-made. Current tube amps have to rely on imported tubes (some of
which are excellent, some of which are just awful) and most use printed
circuit boards to connect parts.
Secondly, older speakers often have a warmer, more ""broken-in"
sound than new speakers. Also, time creates subtle changes to
capacitors, tubes, and even transformers and resistors in an amplifier
circuit. These changes seem to create a smoother sound (if the amp
doesn't blow up).
Again, the key is to try before you buy.
Q: What kind of speakers should I use?
A: There are tremendously varying opinions in the harp world
about this question. Again, the best option may be to try before you
buy.
The classic speaker in the harp world is the 10-inch speaker,
usually used in combinations of two or four. It offers a compromise
between the deeper tones of the 12- and 15-inch speakers, and the
shreddier tones of the 8-inch speaker.
Smaller speakers offer more overdrive, less bass and less sound
dispersion. Larger speakers offer just the opposite traits. Many
musicians prefer pairs or quads of speakers because such combinations
create a more complex sound, in their ears, and also do a better job of
spreading the sound around.
Q: What about effects?
This FAQ won't deal with off-board effects, such as effects
pedals or racks. Instead, let's talk about what you might find built
into an amp: Reverb, tremolo and vibrato.
Reverb is the echo-like sound usually created in a guitar amp by
sending the signal through a series of springs, creating a second,
softer, muffled, delayed signal. This signal is then mixed with the
untreated, or "clean" sound to create the familiar reverb effect.
Virtually all modern combo amplifiers contain reverb. However,
many older Fender and Gibson amps from the 1950s and early 1960s did
not. Still, it is a very popular effect for adding fullness to your
sound, making it sound less "dry."
Tremolo and vibrato often are confused (and are even mislabled
on some amplifiers). Vibrato, the more common effect, is the sudden
modification of volume in pulses. Tremolo is a change of pitch in
pulses.
Many amps, particularly Fenders, have vibrato - although the
Fenders sometimes misname it as tremolo. Only a few amps have built-in
tremolo, with the Magnatone amps of the early 1960s being the best-known
ones.
Neither effect is used that much by harp players, although you
occasionally will find a player who uses a bit of vibrato from the amp.
Q: How do I set up on stage?
A: This is important. Stage set-up will help you hear yourself
and will help the audience hear you.
First, consider your location. Try not to place the amp directly
behind you on stage. This dramatically reduces the possibility of
feedback and will make you a much happier camper. Place it to one side
or another of where you will stand on stage.
Second, particularly if you're using a smaller amp, try to put
it on a chair or crate - anything to get it off the floor. You'll hear
better, the audience will hear better and you'll play at a lower volume.
This isn't as important with the big amps, like the Fender Bassman.
Third, adjust your tone and volume. Your volume, of course, will
vary with the room and with what your band members (and the audience)
will let you get away with. Tone is a highly subjective matter, but most
players cut the treble substantially and try to boost the midrange.
Here's an important tip: Many new "reissue" amps, based on old
designs, sound brighter than their original models. For example, I have
found that I have to *cut* the midrange on my Bassman to give it a nice,
full tone - precisely the opposite action that often is needed with
many older amps. Experiment and decide what works for you.
.
(
geocities.com/sunsetstrip/club) (
geocities.com/sunsetstrip)