
A Soldano Lucky 13 head and cab join forces with a Fender Hot Rod Deluxe to create a massive guitar tone.
If you want to use two amps simultaneously, there are some things you need to know before you flip on those power switches.
You have two amps and you like them both for different reasons. While you've tried using pedals to get all your clean, crunchy, and overdriven sounds with just one amp, you can't seem to dial up a crunch sound that's as good as what you can get from your second amp. So you say to yourself, āHey, I'll just go out of the left and right outputs of one of my pedals, plug one of these outputs into each amp, and have the best of both worlds, right?" Not exactly. If you want to use two amps simultaneously, there are some things you need to know before you flip on those power switches.
When you plug into two amps, you'll often hear a strong humming sound that vibrates out of your speakers. One of the reasons this happens is due to ground hum. You may be thinking that picking up one of those little adaptors and turning your amp's 3-prong plug into a 2-prong plug could be the answer, right? Though it will lift the ground and get rid of the hum, you might get the shock of your life if you touch your lips to a microphone onstage while playing your guitar. Being the recipient of a shock due to improper grounding feels about as good as receiving a squarely landed hook from a heavyweight champion. I learned this lesson the hard way!
So how do you safely use two amps without getting ground hum? My favorite way to play through a pair of amps is via a Lehle Little Dual which is a dual-mono box. To help explain how a dual-mono signal is different from a stereo signal, I called "Rooster" at Trailer Trash Pedalboards.
"A stereo signal is where your effects have a stereo image, like a 'ping-pong' delay or a rotary pedal's spinning horn. There are also tremolos that work in stereo, so they will ping-pong the tremolo back and forth between the two amps," explains Rooster. "A dual-mono signal has both amps receiving the exact same signal at all times, so tremolos will throb at the same rate through both amps. And if a delay is set to, say, 500 ms, both amps will repeat at 500 ms, etc."
The most obvious application for using a box to route your signal into two different amps is when you want to use one amp for your clean sound and the other for overdriven tones. The Little Dual allows me to use each amp independently, while giving me the option to play through both amps at the same time. This is also known as an A/B/Y configuration.
The two isolated transformers inside the Little Dual take care of the ground hum normally caused by using two amps. If you're not planning on using the amplifiers simultaneously, you could also just use an A/B box, since you wouldn't need the "Y" capability. With that in mind, going with a cheaper A/B box may be appealing to your wallet, but be sure to try them out in the store before you make your purchase. That way you can be sure the box doesn't have any hum issues.
Another interesting aspect of using two completely different amps at the same time is how they respond differently. Let's say playing a note is like jumping off of a building. You strike the note (the jumping point) and the way the note comes out of the amp (the landing) is like the type of material it lands on. My Soldano Lucky 13 makes the note feel like it's getting cradled by a giant trampoline before getting flung back into the air on the rebound. Conversely, my Fender Hot Rod Deluxe feels more like the note is landing on a large block of foam. One sound is not necessarily superior to the other, but when you have the same note landing on two different surfaces (amps), your tone gets a massive, spread-out feeling. That's because you have two different responses partnering up to create one huge stack of tone.
Using several different speakers further expands that feeling of being spread out. Something I like to do with the Little Dual during a song is use a single amp for verses, and then kick on both amps for choruses. For instance, I'll use my Hot Rod Deluxe alone for a verse, and when it comes time for the chorus, I'll engage the Soldano that I'll have plugged into two different cabs on opposite sides of the stage. This configuration really thickens up the sound and is a great way to give choruses that added boost of energy.
Beefing up your tone doesn't always mean that you have to buy a new pedal, swap out your pickups, or replace some other tone-changing apparatus. Sometimes the best way to add muscle to your sound is by simply combining a couple of amps that you already own. Experiment with stacking several sounds together until you find the combination that best suits your playing style.
[Updated 11/23/21]
An ode, and historical snapshot, to the tone-bar played, many-stringed thing in the room, and its place in the national musical firmament.
Blues, jazz, rock, country, bluegrass, rap.⦠When it comes to inventing musical genres, the U.S. totally nailed it. But how about inventing instruments?
Googling āAmerican musical instrumentsā yields three.
⢠Banjo, which is erroneously listed since Africa is its continent of origin.
⢠Benjamin Franklinās Glass Armonica, which was 37 glass bowls mounted horizontally on an iron spindle that was turned by means of a foot pedal. Sound was produced by touching the rims of the bowls with water-moistened fingers. The instrumentās popularity did not last due to the inability to amplify the volume combined with rumors that using the instrument caused both musicians and their listeners to go mad.
⢠Calliope, which was patented in 1855 by Joshua Stoddard. Often the size of a truck, it produces sound by sending steam through large locomotive-style whistles. Calliopes have no volume or tone control and can be heard for miles.
But Google left out the pedal steel. While there may not be a historical consensus, I was talking to fellow pedal-steel player Dave Maniscalco, and we share the theory that pedal steel is the most American instrument.
Think about it. The United States started as a DIY, letās-try-anything country. Our culture encourages the endless pursuit of improvement on whatās come before. Curious, whimsical, impractical, explorativeāthatās our DNA. And just as our music is always evolving, so are our instruments. Guitar was not invented in the U.S., but one could argue itās being perfected here, as players from Les Paul to Van Halen kept tweaking the earlier designs, helping this one-time parlor instrument evolve into the awesome rock machine it is today.
Pedal steel evolved from lap steel, which began in Hawaii when a teenage Joseph Kekuku was walking down a road with his guitar in hand and bent over to pick up a railroad spike. When the spike inadvertently brushed the guitarās neck and his instrument sang, Kekuku knew he had something. He worked out a tuning and technique, and then took his act to the mainland, where it exploded in popularity. Since the 1930s, artists as diverse as Jimmie Rodgers and Louis Armstrong and Pink Floyd have been using steel on their records.āThe pedal steel guitar was born out of the curiosity and persistence of problem solvers, on the bandstand and on the workbench.ā
Immigrants drove new innovations and opportunities for the steel guitar by amplifying the instrument to help it compete for listenersā ears as part of louder ensembles. Swiss-American Adolph Rickenbacker, along with George Beauchamp, developed the first electric guitarāthe Rickenbacker Electro A-22 lap steel, nicknamed the Frying Panāand a pair of Slovak-American brothers, John and Rudy Dopyera, added aluminum cones in the body of a more traditional acoustic guitar design and created resophonic axes. The pedal steel guitar was born out of the curiosity and persistence of problem solvers, on the bandstand and on the workbench.
As the 20th century progressed and popular music reflected the more advanced harmonies of big-band jazz, the steel guitarās tuning evolved from open A to a myriad of others, including E7, C6, and B11. Steel guitarists began playing double-, triple-, and even quadruple-necked guitars so they could incorporate different tunings.
In Indianapolis, the Harlan Brothers came up with an elegant solution to multiple tunings when they developed their Multi-Kord steel guitar, which used pedals to change the tuning of the instrumentās open strings to create chords that were previously not possible, earning a U.S. patent on August 21, 1947. In California, equipped with knowledge from building motorcycles, Paul Bigsby revolutionized the instrument with his Bigsby steel guitars. It was on one of these guitars that, in early 1954, Bud Isaacs sustained a chord and then pushed a pedal down to bend his strings up in pitch for the intro of Webb Pierceās āSlowly.ā This IāIV movement became synonymous with the pedal-steel guitar and provided a template for the role of the pedal steel in country music. Across town, church musicians in the congregation of the House of God Keith Dominion were already using the pedal steel guitar in Pentecostal services that transcended the homogeneity of Nashvilleās country and Western clichĆ©s.
Pedal steels are most commonly tuned in an E9 (low to high: BāDāEāF#āG#āBāEāG#āD#āF#), which can be disorienting, with its own idiosyncratic logic containing both a b7 and major 7. Itās difficult to learn compared to other string instruments tuned to regular intervals, such as fourths and fifths, or an open chord.
Dave Maniscalco puts it like this: āThe more time one sits behind it and assimilates its quirks and peculiarities, the more obvious it becomes that much like the country that birthed it, the pedal steel is better because of its contradictions. An amalgamation of wood and metal, doubling as both a musical instrument and mechanical device, the pedal steel is often complicated, confusing, and messy. Despite these contradictions, the pedal-steel guitar is a far more interesting and affecting because of its disparate influences and its complex journey to becoming Americaās quintessential musical instrument.āThe author dials in one of his 20-watt Sonzera amps, with an extension cabinet.
Knowing how guitar amplifiers were developed and have evolved is important to understanding why they sound the way they do when youāre plugged in.
Letās talk about guitar amp history. I think itās important for guitar players to have a general overview of amplifiers, so the sound makes more sense when they plug in. As far as I can figure out, guitar amps originally came from radiosāalthough Iāve never had the opportunity to interview the inventors of the original amps. Early tube amps looked like radio boxes, and once there was an AM signal, it needed to be amplified through a speaker so you could hear it. Iām reasonably certain that other people know more about this than I do.
For me, the story of guitar amps picks up with early Fenders and Marshalls. If you look at the schematics, amplifier input, and tone control layout of an early tweed Fender Bassman, itās clear thatās where the original Marshall JTM45 amps came from. Also, Iāve heard secondhand that the early Marshall cabinets were 8x12s, and the roadies requested that Marshall cut them in half so they became 4x12s. Similarly, 8x10 SVT cabinets were cut in half to make the now-industry-standard 4x10 bass cabinets. Our amp designer Doug Sewell and I understand that, for the early Fender amps we love, the design directed the guitar signal into half a tube, into a tone stack, into another half a tube, and the reverb would join it with another half a tube, and then there would be a phase splitter and output tubes and a transformer. (All 12AX7 tubes are really two tubes in one, so when I say a half-tube, Iām saying weāre using only the first half.) The tone stack and layout of these amps is an industry standard and have a beautiful, clean way of removing low midrange to clear up the sound of the guitar. I believe all but the first Marshalls came from a high-powered tweed Twin preamp (which was a 80-watt combo amp) and a Bassman power amp. The schematic was a little different. It was one half-tube into a full-tube cathode follower, into a more midrange-y tone stack, into the phase splitter and power tubes and output transformer. Both of these circuits have different kinds of sounds. Whatās interesting is Marshall kept modifying their amps for less bass, more high midrange and treble, and more gain. In addition, master volume controls started being added by Fender and Marshall around 1976. The goal was to give more gain at less volume. Understanding these circuits has been a lifelong event for Doug and me.
Then, another designer came along by the name of Alexander Dumble. He modified the tone stack in Fender amps so you could get more bass and a different kind of midrange. Then, after the preamp, he put in a distortion circuit in a switchable in and out āloop.ā In this arrangement, the distortion was like putting a distortion pedal in a loop after the tone controls. In a Fender amp, most of the distortion comes from the output section, so turning the tone controls changes the sound of the guitar, not the distortion. In a Marshall, the distortion comes before the tone controls, so when you turn the tone controls, the distortion changes. The way these amps compress and add harmonics as you turn up the gain is the game. All of these designs have real merit and are the basis of our modern tubeāand then modelingāamplifiers.
Everything in these amps makes a difference. The circuits, the capacitor values and types, the resistor values and types, the power and output transformers, and the power suppliesāincluding all those capacitor values and capacitor manufacturers.
I give you this truncated, general history to let you know that the amp business is just as complicated as the guitar business. I didnāt even mention the speakers or speaker cabinets and the artform behind those. But whatās most important is: When you plug into the amp, do you like it? And how much do you like it? Most guitar players have not played through a real Dumble or even a real blackface Deluxe Reverb or a 1966 Marshall plexi head. In a way, youāre trusting the amp designers to understand all the highly complex variations from this history, and then make a product that you love playing through. Itās daunting, but I love it. There is a complicated, deep, and rich history that has influenced and shaped how amps are made today.
Tobias bass guitars, beloved by bass players for nearly half a century, are back with the all-new Tobias Original Collection.
Built for unrivaled articulation, low-end punch, and exceptional ergonomics, the all-new Tobias Original Collection comprises an array of six four and five-string bass models all offered in both right and left-handed orientations. The Tobias range features Classic, Killer B, and Growler models, and each is equipped with high-quality hardware from Babicz and Gotoh, active electronics from Bartolini, and the iconic Tobias asymmetrical neck design. Crafted from the finest tonewoods, Tobias Original Collection bass guitars are now available worldwide on Gibson.com, at the Gibson Garage locations, and at authorized Gibson dealers.
The bass world has been clamoring for the return of the authentic, high-end Tobias basses, and now, Tobias has returned. Combining the look and tone of the finest exotic tonewoods, such as quilted maple, royal paulownia, purpleheart, sapele, walnut, ebony, and wenge, with the feel of the famous Tobias Asym asymmetrical neck and the eye-catching shapes of the perfectly balanced contoured bodies, Tobias basses are attractive in look and exceptional in playing feel. However, their sonic versatility is what makes them so well suited to the needs of modern bassists. The superior tone from the exotic hardwoods, premium hardware, and active BartoliniĀ® pickups and preamps results in basses with the tonal flexibility that todayās players require. Donāt settle for less than a bass that delivers everything you want and need āthe look, the feel, and the sound, Tobias.
āIām thrilled to release Tobias basses, emphasizing the use of exotic woods, ergonomics, and authenticity to the original Tobias basses,ā says Aljon Go, Product Development Manager for Tobias, Epiphone, and Kramer. āThis revival is a dream come true, blending modern craftsmanship with the timeless essence of Tobias.ā
āItās amazing to see this icon of the bass world return,ā adds Andrew Ladner, Brand Manager for Epiphone and Kramer. āThese models are truly a bass playerās bass, and true to the DNA that makes Tobias world-classāthe ace up the sleeve of bass players around the globe since 1978. Todayās players can find that unique voice and feel that only Tobias can offer.ā
For more information, please visit gibson.com.
Sublime, fronted by Jakob Nowell, son of late Sublime singer Bradley Nowell, are in the studio writing and recording new songs for an upcoming full-length album. This marks their first new album since 1996.
When not performing at various festivals across North America in 2024, front man Jakob Nowell immersed himself in the Sublime catalog and found a deep sense of connection to his late father. The band is tapping into the 90s nostalgia, writing and recording the new songs with powerhouse producing duo Travis Barker and John Feldmann, in addition to working with producer Jon Joseph (BĆRNS). The first single will be released this Summer via their newly established label Sublime Recordings.
"I grew up on Sublime. ā40oz. to Freedomā changed the way I listened to music. Iām so honored to be working with the guys in Sublime. Creating music for this album has been so fun and exciting. Bradley comes through his son Jakob while writing in the studio and performing. Chills every day in the studio when he sings and play guitar. This is going to be really special." ā Travis Barker
āSublime has always been a huge influence on me and to be able work with the band has been inspirational and game changingā¦It has been a highlight of my life to work on such a seminal record with such talented people. Iām so grateful for this opportunity and to continue the legacy and keep it authentic to what they have historically done.ā ā John Feldmann
After Jakob Nowellās debut as Sublimeās new front man at Coachella 2024, he and his uncles Bud Gaugh and Eric Wilson continued the momentum of this latest chapter of the band, performing at over 20 festivals and shows across North America by the end of last year. Additional highlights from 2024 include Sublimeās late-night television debut on The Tonight Show Starring Jimmy Fallon, a 4-song set on the Howard Stern Show and the bandās first top 10 hit on alternative radio since 1997 with their single āFeel Like That,ā featuring the vocals of both Bradley Nowell and his son Jakob together.
2025 is shaping up to be an even busier year for the band, with a handful of headlining shows, high-profile festival appearances to support the release of the new album.
For more information, please visit sublimelbc.com.
Sublime 2025 Tour Dates
- April 5 ā LIV Golf Miami ā Miami, FL
- April 18 ā Red Rocks Amphitheater ā Morrison, CO
- May 3 ā Beachlife Festival ā Redondo Beach, CA
- May 16 ā Welcome To Rockville ā Daytona Beach, FL
- May 23 ā BottleRock Napa Valley ā Napa, CA
- May 25 ā Boston Calling ā Boston, MA
- June 14 ā Vans Warped Tour ā Washington, DC
- July 12 ā 89.7 The Riverās 30th Anniversary Show ā Omaha, NE
- July 20 ā Minnesota Yacht Club Festival ā Saint Paul, MN
- September 14 ā Sea.Hear.Now ā Asbury Park, NJ
- September 19 ā Shaky Knees Festival ā Atlanta, GA