5. The Setup

The Core Sound

What defines a good core sound? There's no one-size-fits-all rule here. It's a mix of personal taste and some clear tendencies. Let's dive into the four factors that make up the core sound:

1. Balance:
   Not too much treble or bass; emphasizing mids might not be everyone's cup of tea (though some love it), while lacking midrange can sound weak and clinical.
2. Warmth:
   Often tied to balance and sometimes to tube factor, although there are successful examples without tubes nowadays.
3. Power:
   Not all watts are created equal. It's not just about the numbers. Do you want your pants flapping? More importantly, do your bandmates want that? Smaller amps offer the advantage of being cranked up without blowing the roof off, allowing you to utilize power amp distortion, which usually sounds better than just preamp distortion.
4. Dynamics:
   How much does your playing affect the sound? For those not into overly compressed tones, playing dynamics can make a massive difference in sound nuances.

Overdrive/Distortion Sound

This isn't about effects but rather the distortion produced in the preamp and power amp stages of a tube amplifier when cranked.

Hard to put into words. Some amps have a beautiful, harmonious sound while others (even identical ones) sound terrible—gritty, brittle, almost indescribable. Here, it's the subjective impression that matters most to each guitarist.

Let's explore some basic setup types:

Classic Rock: a guitar and an amp.

• Pure Amp:
  Take a good old-school tube amp (one channel suffices for this purpose), crank it up (classic amps often lack a master volume, so it'll get loud; of course, those with masters sound better when not solely relying on preamp distortion), and control the rest with your guitar's volume (or for the lazy, a volume pedal). Dialing down the volume reduces the drive, affecting both preamp and power amp tubes, toning down the distortion.
  It might sound old-fashioned, but most rock classics were recorded with such setups, and some still go back to it today.

Examples:

For those finding fully cranked amps too loud (not a studio problem but often a live or rehearsal issue where bandmates surrender), two options arise:

• Smaller Amps:
  To match bassists and unamplified drums, really tiny tube amps work wonders.
  A small Fender Pro Junior (15 watts, volume and tone knobs, classic sound!) would easily hold its own in regular band situations, and the slightly bigger Blues Junior offers even more.
• Use Boosters or Distortion Pedals:
  This technique was popularized by Jimi Hendrix. Instead of seeking the distinct gritty sound from, say, a Fuzz Face when placed in front of a clean amp, the aim was to extend sustain by boosting an already overdriven tube amp before the preamp. Gary Moore used an Ibanez Tubescreamer in front of his Marshalls for a long time, Ritchie Blackmore used his Tape Delay's output, Randy Rhoads a MXR Distortion Plus, Brian May and Rory Gallagher a Rangemaster, and Jeff Beck experimented with various options, currently using a ProCo Rat, among many examples. Result? More distortion at bearable volumes and often a unique sound flavor as a side benefit.
• Distortion before a Clean Amp
  Relying on a single amp channel was too limiting for many guitarists: getting crystal-clear clean tones was a challenge, and effects used in front of a distorted amp usually didn't sound great (except for Wah-Wah and, as follows, distortions). Besides, a cranked-up Marshall without a master volume is just unbearably loud. That's why, in the '60s, transistors were used to create pedals emulating tube amp overdrive. Initially harsh and unnatural, think of the famous Satisfaction riff or various Yardbird sounds from the Beck/Page era. With time, these pedals improved, renaming from Fuzz to Overdrive, Distortion – finally came the Tube Screamer, its goal clear in its name.
  In the progressive bands like Genesis, Pink Floyd, or Yes, sound versatility was key. Steve Hackett, Steve Howe, and David Gilmour, known for a multitude of effects, used multiple distortions for lead tones and controlled other effects pedals. To smoothen the rough edges, compressors were added at the beginning of the signal chain. David Gilmour still follows this setup; he starts with top-notch clean tones, then blends effects like an artist with a palette.
• Amp with Effects Loop
  For those preferring the original tube sound but not wanting to skip effects, modern amps introduced effects loops in the early '80s. The signal goes through the preamp (for lead sounds) where it distorts, then through the send jack to effects and return jack to the power amp (the power amp should not distort too much here, as the goal is to avoid distorting the effects). With modern amps having multiple channels, you get a choice between lead and rhythm sounds.
• Rack Solutions
  In the '80s, stacks were phased out for complex and costly rack systems. Amp tops were used as massive distortion units that fed effects chains and ultimately drove clean tubes (Steve Lukather – Mesa Boogie) or transistors (early Eddie Van Halen – H&H). The idea was clear: take the distortion sound of your favorite amp (including power amp distortion), regulate the insane output using resistors down to line level, then boost it back up to stage volume, powering any number of 4 x 12 cabs. Initially stereo effects were prevalent, but noticing that excessive effects dulled the core sound, three-way systems emerged (core amp sound in the middle, effects on the sides). Brilliant, but: too intricate and costly for most regular players! Many superstars today are back to simpler setups. Surely, trends play a massive role. Post the Seattle-based Grunge movement, raw, unadorned sounds became popular again. Guitarists who had carried tons of equipment suddenly returned to "I'll-only-let-my-guitar-touch-an-amp-and-cable" methods. Not a slight against anyone; tastes and opinions change over the years. What's amusing is stumbling upon old interviews of rack specialists praising those complex systems, now sneeringly calling them "expensive refrigerators." However, racks today still offer guitarists opportunities: the three-way option remains a great way to achieve complex sounds without sacrificing the original amp tone. Additionally, practical and affordable solutions are more achievable today.

Multi-Amp Setup:

• Version A:
  Simple principle: Instead of using one device's channels for various sounds (like Clean, Crunch, Lead), each sound gets its own amp, with an A-B box directing the guitar signal to the desired amp.
• Version B:
  Another approach (famously used by Stevie Ray Vaughan) is combining different amps. So, Amp B may compensate for the frequencies that Amp A lacks while Amp A adds warmth, creating a playground for sound enthusiasts. Not the most cost-effective, though!

Amp Modelling:

No topic has shaken the rather old-fashioned world of guitarists as much as amp modeling. Digital technology tries to simulate the sound and behavior of various modern and vintage amps, and the results are, in part, impressive.

However, let's not overlook the key differences from conventional amps and their significant advantages:

• With a modeling amp (or preamp), you have all the essential sounds from various amps, settings (volume, tone), and effects at your fingertips.
• You can rely on always having "your" sounds, regardless of volume, microphone used, mixer, etc.
• Many models include simulations of vintage amps, which are today's unaffordable originals, or those of expensive luxury brands.
• Expensive and meticulous maintenance, typical for tube amps, is not required, nor is the weight of those beloved heat generators.

Even though many guitarists still swear by their tube amps, the evolution towards digital guitar setups is far from complete, and it's intriguing to see what comes next.