The final volume to be achieved with an amplifier is dependent on other factors. A crucial factor is the efficiency of a speaker and the construction of housing. An increase in efficiency by 6 dB is achieved through a higher sound pressure level than the doubling of the power of jazz guitar amplifiers and can also significantly influence the change of frequency response dynamics, and tonal character. A speaker with 10 dB higher efficiency roughly doubles the perceived loudness.
Guitar amplifiers can be classified into the following categories: according to type, including combo - open or closed, amp head, preamp, power amp as well as rack system. This in addition to electric bass, acoustic guitar, practice, studio and stage amplifier. The use of reinforcing members, such as electron tubes, semiconductors and hybrid is common. Commercially available sound equipment can be virtually combined with a focus on one or more categories. This explains the great diversity of supply.
It is possible to experience some crossover distortion, which does not occur when the amplifier operates in class A operation. In some variants, the full signal from a single power tube is reinforced. The AB mode is usually employed for larger capacities, while the A-operation requires fewer components.
For example, the speaker system usually consists of eight and 15-inch speakers so is a typical Marshallbox with 4 speakers, each equipped with 12-inch and loaded with 100 to over 400 watts RMS power. In many devices, a so-called reverb (spring reverb) is installed for generating artificial reverberation.
Chance of additional effects such as chorus and tremolo can be integrated. Guitar amps come in various power levels of about 2 watts (Roland Microcube) reaches over 350 watts (Marshall Mode Four) output power. Greater power outputs are not useful in general, as in bigger stage installations, the instruments are transmitted via the PA system.
A non-linear distortion of the signal is desired in certain types of pop music, especially in rock music and is achieved by selectively overdriving the guitar amplifier or individual amplifier stages within the guitar amp. The override of a precursor is described by manufacturers as distortion, overdriving the output stage is referred to as overdrive. It can be used in combination; it influences the signal chain. The distortion can also occur outside of the guitar amp in upstream effectors, generally through a distortion box.
This construction was popular in the seventies, when transistor output stages with the sturdiness of best tube amps were still difficult to achieve, but enabled greater flexibility in the input and tone control stages. However, tube amps are more expensive than transistor amplifiers with the same output because of required transformers.
If this is not desired, the loudspeaker can employ a resistor network connected upstream, which converts the major part of output signal feeding only a fraction of the output power (power soak). Alternatively, it performs a power reduction during the output stage (for example, by reducing the operating voltage of tubes) to deliver the desired result. In all cases, however, it must be remembered that this inevitably leads to decline of overall volume of nonlinear distortions of the loudspeaker, which also contribute to distortion on the output stage.
Guitar amplifiers can be classified into the following categories: according to type, including combo - open or closed, amp head, preamp, power amp as well as rack system. This in addition to electric bass, acoustic guitar, practice, studio and stage amplifier. The use of reinforcing members, such as electron tubes, semiconductors and hybrid is common. Commercially available sound equipment can be virtually combined with a focus on one or more categories. This explains the great diversity of supply.
It is possible to experience some crossover distortion, which does not occur when the amplifier operates in class A operation. In some variants, the full signal from a single power tube is reinforced. The AB mode is usually employed for larger capacities, while the A-operation requires fewer components.
For example, the speaker system usually consists of eight and 15-inch speakers so is a typical Marshallbox with 4 speakers, each equipped with 12-inch and loaded with 100 to over 400 watts RMS power. In many devices, a so-called reverb (spring reverb) is installed for generating artificial reverberation.
Chance of additional effects such as chorus and tremolo can be integrated. Guitar amps come in various power levels of about 2 watts (Roland Microcube) reaches over 350 watts (Marshall Mode Four) output power. Greater power outputs are not useful in general, as in bigger stage installations, the instruments are transmitted via the PA system.
A non-linear distortion of the signal is desired in certain types of pop music, especially in rock music and is achieved by selectively overdriving the guitar amplifier or individual amplifier stages within the guitar amp. The override of a precursor is described by manufacturers as distortion, overdriving the output stage is referred to as overdrive. It can be used in combination; it influences the signal chain. The distortion can also occur outside of the guitar amp in upstream effectors, generally through a distortion box.
This construction was popular in the seventies, when transistor output stages with the sturdiness of best tube amps were still difficult to achieve, but enabled greater flexibility in the input and tone control stages. However, tube amps are more expensive than transistor amplifiers with the same output because of required transformers.
If this is not desired, the loudspeaker can employ a resistor network connected upstream, which converts the major part of output signal feeding only a fraction of the output power (power soak). Alternatively, it performs a power reduction during the output stage (for example, by reducing the operating voltage of tubes) to deliver the desired result. In all cases, however, it must be remembered that this inevitably leads to decline of overall volume of nonlinear distortions of the loudspeaker, which also contribute to distortion on the output stage.
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