Many blues players swear by those old open-backed 4×10 Fender amps, as they can produce a range of tones from smooth to searing. If you want to sound like Jimi, you’ll likely want to plug your Strat into a Marshall with a dual 4×12 cabinet design. One well-known guitarist preferred four 4×12 cabinets, which may explain his current hearing problems – yikes, 16 12-inch speakers will definitely play loud, but the overall frequency response, if charted using sensitive labratory gear, will be totally different than that of our 4×10 example. Today manufacturers can custom tweak their amps by combining a certain size cabinet with a certain size set of speakers.

Even more impressive are the “does everything” amps that are sonic chameleons. They can deliver the sound of a tiny tweed or shake the walls with a “Hendrix on 11″ tone at the push of a button or the tap of a footswitch. Modeling also allows most amps to include a fairly extensive library of effects. Back in the 1960s and early ’70s, guitarists needed multiple outboard stompboxes to produce distortion, chorusing, flanging or a wah-wah sound. All of those boxes added up to one thing: Noise! But today, thanks to modeling, all effects – even multi-effects like chorus and delay plus reverb – are designed to be amazingly quiet.

What’s more, modeling frees you from the constraints of having to “make do” with a particular amp’s tonal range. Using sophisticated DSP, a 2×12 modeling amp can still sound like a vintage 1×10 tweed or a modern 4×12 stack. When you add up all the benefits of a modeling amp, they do make a lot of sense unless you just happen to be a purist who is convinced that only a 1959 Fender Bassman reissue will sound like a 1959 Bassman. For those players, modeling is simply no substitute. And since a player’s individual tone is critical, we concede that each guitarist will decide for themselves whether modeling is simply a fad or the future of all guitar amplification.

Types Of Amplifiers
There are four types of guitar amplifiers: Solid State (analog), Tube, Modeling (digital), and Hybrids.

Solid State Amps: These amps are called solid state because they use transistors for their preamp and power sections instead of tubes. They are very reliable and seldom need repairs. They often have a very clean tone, although many come with “distortion” channels also. These amps are popular with players looking for a sturdy, reliable touring amp.

Tube Amps: Tube amps preferred by many guitarists for their warm, fat tone and “organic” distortion. Tube amps usually sound louder than solid state amps of the same wattage and have a definite “feel” that you don’t get from solid state amps. Most tube amps have separate channels that can switch from clean to distorted tones instantly. need changing occasionally,

Modeling Amps (Digital Amps): Modeling amps use digital processors to simulate the sound of old-fashion tube technology. Using software that “models” the sound of a tube amplifier (and cabinets), these amps put the sound of numerous amps in one box. Modeling amps are programmable, and often have built-in digital effects such as delay, chorus, etc. Some include digital or analog outputs with speaker simulation for going direct into a recording interface or PA system.

Hybrid Amps: Combining the best of each type of amp into one package, Vox ValveState amps use an actual tube in conjunction with the solid state power section of their amps. Marshall Valvestate amps use tubes in the preamp section and solid state circuitry in the power section to create a tube tone without using power tubes.

Configurations
In addition to types of amplification, amps come in different configurations. Combos (short for combinations) are self-contained units containing the amplifier and speaker in one cabinet. Amps also come in separate Head and Speaker Cabinets. These allow you to use any amp head with virtually any speaker cabinet. They also break the amp into two units, making each unit lighter and easier to carry than a single combo. Combining two cabinets and a head is called a “stack.”

Construction
The thickness of wood used to construct the cabinet is a major factor in determining the quality of sound. The thinner the wood used, the more likely the speaker will vibrate itself loose. A thickness of at least 1/2” will achieve a strong sound and to keep the speaker in place. Another factor determining sound quality is whether the amp has an open or closed back. Closed- back guitar amps produce a better bass response from the speaker.

When moving an amp from gig to gig, it’s quite common for them to get banged up a bit. Good corner protectors will add to the life of the guitar amp.

Power and Speaker Size
The power and size of speaker you choose for your amp will depend to some degree on application and price. Practice amps are usually solid state or modeling combo units featuring low power (10-30 watts and small (8″ or 10″) speakers, although there are some basic tube amps to be found. For rehearsal and playing smaller venues, consider tube and modeling combo amps with power ratings averaging about 50 watts and 12″ speakers for fuller sound. For larger venues or for performing loud, expect power to average at 120 Watts and up. You will find “twins”, or combos that have pairs of 12″ speakers effective but this is where separate head and speaker cabinets (Stacks) come into play.

Other Options
Other additional features you might encounter include:

Reverb Units: Some amps use spring reverbs, which can be very natural sounding, while others use digital reverb.

Effects Loops: These jacks allow you to add stomp boxes or rack units after the preamp section of the amp to avoid amplifying any effect noise.

Channel Switching: These amps allow you to switch between different preamp channels usually going from a clean tone to a distorted one. Check to see if a footswitch is included. Digital amps often require the purchase of an additional MIDI footswitch to change tones remotely.

Built-in Effects: Roland Jazz Chorus amps are famous for their built-in stereo chorus. Tremolo is another effect many amps feature (great for surf guitar.) Modeling amps usually contain multiple built-in digital effects.

Fender
Leo Fender and Doc Kaufman founded K&F electronics in 1946. Leo bought him out in 1948 and changed the name to Fender. The first amps Fender made were small combo amps that were completed with the natural wood finish Called “woodies” by collectors, they’re often unrefined in their sound.
In 1950, a cotton cloth used on suitcases called “tweed” was glued to the wood for durability when carried around. These amps were called “tweed circuits.” They had chrome faceplates with silk-screened characters. These amps used 6L6 and 6V6 power tubes, which defined that sound for the past and future. These are perhaps the most copied amps in the boutique market, because of their excellent sound.

In 1959/60 the cloth used changed to a white color, and was the first time tolex was used on a Fender. The circuits changed, too, and the head with separate cabinet was introduced. The faceplates were maroon colored with white lettering. These are called “white circuits” and lasted until 1962.

The white material showed dirt too easily, and the tolex color was changed to a tan covering. This series of amps are called “brown circuits, and lasted until 1964.

The tolex was changed to black, and the faceplates were black also with white lettering. These amps are referred to as “blackface circuits”, and are highly collectable as well.

Leo Fender sold his company to CBS in 1965, but the amps were not changed until the very end of 1967 and early 1968. The amps were given a facelift with silver faceplates and different color grill cloth. The circuitry was not changed until 1968/1969, with most redone by 1970. These amps are referred to as “non-master silver face circuits”, and are now becoming more collectable in recent years.

Fender added what’s called master volume in 1972/73. These were supposed to produce a more distorted sound at lower volumes, but are considered by many to be inferior to the earlier Fenders. They can be easily modified to “blackface” specifications in most cases. They were made until early 1980, and were all point- to-point tube amps.

Paul Rivera was signed on by Fender in 1979 to create and design amps on contract. These were Fender’s last all point-to-point amps and were made from 1980 until 1983. They looked very similar to the “blackface” amp, but had little in common with them.

Fender is still in production today, with most tube amps made from circuit boards of varying quality. They’ve reissued some of their classic amps, but aren’t considered to be the same quality as the originals. They opened a Custom Shop in the early 1990’s to make point-to-point re-issues, and original designs. These are quite expensive, and compete with the boutique amps in quality and sound.

See www.fender.com for more information.

Marshall Amps
Jim Marshall started Marshall Amplification in 1962 in England. This company was instrumental in creating the rock sound of the 1960’s until present day. The first amp made was a close copy to the 1959 “tweed” Fender Bassman called the JTM-45. These were made in his kitchen by Ken Bran, and sold out of his music store. These amps created a unique distorted sound when turned up, and sold like wildfire in England. Eric Clapton played a combo version of this amp, and put Marshall in the spotlight with his great overdriven blues tone.

A 100 watt amp head was created in 1965, and was refined to the JMP 100 in 1967. The 50 watt head was created in 1965, and became the JMP 50 in 1967.
The 1967 amps had the famous gold Plexiglas faceplate. These were referred to as “plexi” amps, and are the standard by which all 50 and 100 watt heads are judged by. They also introduced the EL-34 power tubes, which are still used in most 50 and 100 watt heads.

In 1970, the Plexiglas faceplate was dropped in favor of an aluminum faceplate. These amps are called “metal front” Marshall’s. These were all hand wired point to point until 1973 when circuit boards started being used. A master volume was added in 1975 and remains until this day.

Marshall is probably the most well known rock amp ever made. Their name is synonymous with Jimi Hendrix, Eddie Van Halen, Randy Rhoads, and more than can be listed here. The early “plexi” amps are very rare and expensive, and are always sought after.

Reissues of the 100, 50, and Jtm-45 combo “plexi” amps have been made for several years, but many feel their circuit boards are inferior to the originals. Recently Marshall has made point-to-point hand wired copies of their small combos and other amps to compete in the boutique market.

These are considered very good, and sound more like the originals than the other reissues. Marshall makes a wide variety of tube and solid-state amps, and remains one of the biggest selling. Marshall also created the 4×12 cabinet and the full stack, which are two 4×12 cabinets stacked on top of each other. This was designed with Pete Townshend of The Who in 1965 when he requested an 8×12 cabinet. His roadies said they were too heavy, so Marshall cut them in half so they could be stacked. Hence, the Marshall stack!

See www.marshallamps.com for more information.

Vox Amps
Vox Amps was formed by Tom Jennings of London, England, who was making organs for a living. Dick Denney was employed by the company and made the AC/15 amp in 1958 to great acclaim. A louder amp was needed so a 33 watt 2×12 combo amp was made called the AC/30. This became a popular amp, and was used by The Beatles starting in 1962. This amp employed the EL-84 style tubes, and created a unique guitar tone that is still a benchmark today. The Company was sold in 1965, and for many years changed hands, and quality became poorer. In the early 90’s the AC/30 was made more like the original early 60’s models that included the original extra circuit called a “top boost”. These are considered high end amps, and have influenced numerous boutique makers.

These were the makers that set the stage for guitar amplification, and are still the standard of their respective tones. There were other major manufacturers in the early years that made a significant impact, but not as much as the first three mentioned.

See www.voxamps.co.uk for more information.

Ampeg
The Ampeg Bass amp Company was created by Everett Hull in 1949. The primary focus was handmade tube bass amps, and they are still some of the best available today. The 300 watt SVT Bass Amp is still the standard in the industry. They made several high quality guitar amps as well, but most were suited to Jazz rather than rock and roll. Quality waned with circuit boards introduced in the early 1970’s. They are still made today, but are not considered high-end amps, but good workingman amps at reasonable prices.

See www.ampeg.com for more information.

Magntone/Valco
Magntone/Valco amps were started in 1947 making amps for Hawaiian and steel guitars. Little historical information is available. Some amps made were of lower quality and student models. The rest were well made, and sought after by collectors and players. Some were attempted copies of better known makers, and others were and others were unique original circuits. They made amplifiers which are still used today.

No website is available.

Hiwatt Amplification
Dave Reeves started Hiwatt Amplification in the late 60’s after working for Sound City at Dallas Arbiter in England. These amps were built differently than most point to point amps. They used Military Specifications in their wiring techniques and are considered some of the best built amps ever made. Tag boards were used, and wires were soldered using heavy duty methods, and all wires were done with 90 degree angles just like military aircraft at the time. These amps were very reliable and had a loud clean sound. Users included Pete Townshend of the Who, and David Gilmour of Pink Floyd. Most amps made were heads, but a few combos were made. Dave Reeves passed away in 1981, and the company was sold. . Many people have owned the name, and most amps made since that era are not of the same quality or craftsmanship.

See www.hiwatt.com for more information.

Orange/Matamp
Orange/Matamp amps, started by Mat Mathias and Chris Cooper in the late 1960’s, were identified by the bright orange tolex style coverings on the amps. Early amps were all hand wired with an attention to detail very similar to Hiwatt. These amps sold very well, and were used by Fleetwood Mac, and Jimmy Page of Led Zeppelin for some songs. In 1973 Chris took control of the company, and began to use circuit board and mass production. They’re still considered high quality amps to this day, but many consider them to be inferior when compared to the earlier versions.

See www.orangeamps.com for more information.

Gibson
Orville Gibson started Gibson Instruments in 1894. This company is best known for its guitars and mandolins, and is perhaps the most well known electric guitar manufacturer. In 1937 Gibson introduced a Spanish guitar amp to accompany the ES-150 guitar made popular by jazz guitarist Charlie Christian. While never achieving great notoriety for their amps, Gibson made and sold a significant number of models. Most were geared more towards jazz players, but a few have become collectable for high quality tone. Gibson amps are still made today, and are point-to-point, hand wired. They are considered high quality, and compete with the boutique companies.

See www.gibson.com for more information.

Boutique Amplifier Pioneers
As the 1960’s ended and mass production changed the quality of amps being made, some pioneers stepped into the forefront to forever change the market.

Mesa/Boogie
Randall Smith is one of the best known, and recognized of these pioneers. He took small Fender practice amps, and stuffed a 60 watt tube amp into the small combo creating a stealthy surprise when plugged in. He also added a heavy duty 12” JBL speaker to handle the increased wattage. The goal was to make a loud amp in a small package. These became a huge hit, and demand soon overtook his ability to make them. Fender became suspicious and cut off his supply of parts, forcing him to move to a larger location to increase production. Carlos Santana played one in the early 70’s, and helped make Boogies famous from his endorsement of them. He created Mesa/Boogie Amps in 1970 hand making the amps until the late 1970’s when circuit boards were introduced. The circuit boards used are of very high quality, and a wide variety of models are available for most any style of music. The have received their greatest success in the Hard Rock, Heavy Metal genre, becoming an industry standard for high gain amps. Randall Smith almost single handedly created the boutique market paving the way for others.

See www.mesaboogie.com for more information.

Dumble
Howard Alexander Dumble started making amps in the late 1960’s. The name, “Dumble Amps” creates awe in players and collectors. About 250 amps have been handmade by him. His amps are considered by many to be the best in the world. In recent years, attempts have been made to copy his amps with limited success. The preamp circuitry is covered with a dark rubber silicone material to avoid exact copies of his circuits. Each amp is crafted and tuned for the purchaser, using the very best components and materials. Changes to his circuits and designs have evolved through the years, making it even harder to copy one of these amps. These amps are available in 50, 100, and 150 watt variations in either head or combo form. Attaining one of these amps is very costly and difficult. On the used market they cost up to $25,000, and rarely come up for sale. The cost for a new one is unknown, because he’s unable to be reached without a close personal contact. Dumble is rumored to be a recluse and various stories about his demeanor and business ethics are legendary. His amps are considered the Holy Grail, and a benchmark others try to achieve.

Dumble amps has no website available.

Trainwreck Circuits
Ken Fischer created Trainwreck Circuits in 1981. These amps are considered in the elite league of amps, as well as being a pioneer for the boutique market. He worked for Ampeg in the 1960’s, and later for Sundown Amps in the late 1970’s. These amps have unique circuits based on El-84 and EL-34 Power tubes. They’re considered by many to be the ultimate lead guitar amp. Unable to make amps due to poor health, Fischer still creates amp designs. Komet and Kendrick are 2 companies he designed circuits for, but is not involved in the actual production. These are good amps, but not considered by most collectors and players to be in the same league as his personally made amps. Each amp is individually given a female name in lieu of a serial number. Every cabinet is made with exotic woods and given a clear lacquer finish. They’re custom voiced for the original purchaser, thus making each amp unique. His amps generally bring 15 to 20,000 dollars in the used market. Some have gone even higher due to the rarity. Few people have attempted to make actual copies of his amps, leaving Fischer’s amps in a class all by themselves.

See www.trainwreck.com or more information.

Large Boutique Amp Makers

Kendrick Amps
Gerald Weber started Kendrick Amps in the late 1980’s. He amassed many hours as a respected repairman and technician. He made near exact copies of Fender Tweed amp circuits in the late 1980’s. He was a pioneer in the market and even helped prompt re-issues by major manufacturers. By the mid 90’s original designs were used, still loosely based on the vintage amps with modern features. He’s written books and articles about tube amps, repairs, and designs that are used by many technicians. He’s considered one of the top in his field. In the late 90’s he began using circuit boards and changed from a handmade approach to mass production. Many felt quality dropped, and that changed his status as a “Boutique” amp maker. He’s been making limited edition handmade amps again on a small scale alongside his production models.

See www.kendrick-amplifiers.com for more information.

Victoria Amplification
Victoria Amplification was started in 1993 by Mark Baier as a small custom amp company. He was one of the first to attempt exact copies of “Tweed” style amps. All original components, wire, and electronics were copied, or purchased from the original manufacturer. Hand wired, point to point circuitry is employed throughout with no circuit boards or modern style parts. Cabinets were made of solid pine and covered with lacquered tweed cloth like the originals. The amps are like going back in time to the 1950’s and buying one brand new from Fender. Victoria is now a medium-sized manufacturer built by a few individuals to exacting standards.

See www.victoriaamp.com for more information.

Matchless Amplification
Matchless Amplification was created in the early 1990’s by Mark Sampson and Rick Perrotta. After working on Vox AC/30 amps for many years, these men wanted to create their own circuits with the same unique tone. The Vox amps, while sounding great had serious reliability problems. They created an amp and immediately became a huge success. All amps had overbuilt components, and premium electronics. It has meticulous point-to-point hand wiring throughout, and a cool backlit logo, too. No circuit boards were ever used in any of their amps. They branched out to several amp styles before selling the name to another manufacturer in the late 1990’s. Used by countless studios and touring musicians, Matchless has a unique sound quality that is instantly recognizable, and has become a benchmark for this type of guitar tone.
The new manufacturer still seems to have good quality, but the original amps command premium prices due to their perceived authenticity.

Mark Sampson has designed for Bad Cat Amp Company, SMF Amps, and currently owns Star Amps. Rick Perrotta designs microphone preamps and microphones for privately owned companies.

See www.matchlessamplifiers.com for more information.

Budda Amplification
Budda Amplification was started in 1995 by Scot Seir, Paul Lamb, and Jeff Bober in a Northern California barn. It’s based on Marshall Style designs, but with originality throughout. Point to point hand wired until sometime in 2001/2002, when production was greatly increased and circuit boards began to surface. The amps are now all circuit boards, even though priced similar to hand wired amps. Highly regarded in the guitar community, and seen as an alternative to other mass produced amps. Still considered a “Boutique” maker, and used by some well known bands.

See www.budda.com for more information.

Bogner Amplification
Reinhold Bogner started Bogner Amplification after moving to L.A. from Germany. He became famous modifying and repairing amps for several rock stars, then created his own designs. Several Marshall-styled amps are offered in head and combination form in varying wattages. These amps use circuit boards, but are of much higher quality than most. Super thick epoxy boards and high quality components are used throughout, and the moving parts are hardwired to the circuit boards. These amps are most popular with bands that play heavier, more aggressive styles of music.

See www.bogneramplification.com for more information.

THD Electronics
THD Electronics was started by Andy Marshall in 1987. He did repairs and modifications for famous studio musicians and local players, eventually desiring to make his own. He started out making loosely based copies of early “Plexi” style Marshall amps. His early amps were hand wired and have become collectable. Current amps use very high quality circuit boards in all of their production. Mass Production began in early 2001, but is still run like a small shop in terms of customer service and product relations. His current models are completely unique, and revolutionary in their features and design. He has been considered a pioneer and innovator in the industry for almost 20 years.

See www.thdelectronics.com for more information.

Groove Tubes
Groove Tubes was founded by Aspen Pittman in the late 1970’s as a vacuum tube distributor, and expert. One of the first, and most well known amp gurus in the industry. He has a huge collection of vintage and high end amps that he has done extensive research on. He has insight and knowledge that few can match. He wrote the definitive book on tube amps, “The Tube Amp”, now in its 5th printing. Groove Tubes carries a varying inventory of custom made amps that can be tailored to the individual. They have a large celebrity clientele, and a dedicated staff of experts. Early amps were hand wired; newer ones use thick high quality circuit boards. The quality and reliability of their amps is admired by the industry.

See www.groovetubes.com for more information.

Soldano
Soldano Custom Amplification was started by Michael Soldano in the mid 1980’s. After doing repairs and modifications for several years, he designed a unique amp. The Super Lead Overdrive 100 watt head model made him popular when used by several famous rock stars. The SLO-100 is still made one-by-one and hand wired. Most of the other amps in the line-up are mass produced with circuit boards, and sell well among working musicians. Mr. Soldano still has a great reputation in the industry, and oversees the production of amps, which is all in-house.

See www.soldano.com for more information.

Rivera Research and Development
Rivera Research and Development was started by Paul Rivera in 1976. He was contracted out to design amps for several major manufacturers. He designed all the amps for Fender from 1980-1983. These were hand wired point to point amps of good quality, and are a real bargain on the used market. In 1985 he began making amps under the Rivera name, and continues until this day. All amps are made with circuit boards, with the moving parts hardwired with quality parts. His amps are particularly popular with Heavy Metal and hard rock players.

See www.rivera.com for more information.

VHT Amplification
VHT Amplification was established by Scott Fryette in the early 1990’s. The amps are designed with the high gain boutique market in mind. They are based on Marshall circuits with higher gain circuitry. Durability for road use through high grade circuit boards is ensured. High grade components are used in construction, and reinforced cabinets. Due to their unique one, these are very popular with Heavy Metal bands. Mr. Fryette oversees every amp and cabinet created completely in house.

See www.vhtamp.com for more information.

Small Scale Boutique Makers
Originally a boutique amplifier was a no compromise handcrafted, hand wired, point to point masterpiece where money was no object. There are still several who provide this attention for their customer.

Alessandro High End Products
Alessandro High End Products are built by George Alessandro on a custom order basis. Established in the mid 1990’s, it uses methods found in the high end stereo market. Extremely high quality parts throughout, including silver solder and high grade wiring. Many options are available from a gold plated chassis, to solid silver and solid gold chassis ($50,000 option!!!) Exotic woods are used on the cabinetry and hand rubbed with lacquer to imitate a fine piece of furniture. All amps are unique circuit designs, or variations of existing ones. Each amp is gone over by Mr. Alessandro, and thoroughly bench tested and played before sending to the customer. Working Dog amps, a lower cost alternative, are now offered, and manufactured on a larger scale. They maintain many of the high quality electronics and features of the more expensive amps, but do not use exotic woods or metals in their construction. They’re still hand wired and overseen by the owner.

See www.alessandro-products.com for more information.

Bruno Amplification
Bruno Amplification was founded by Tony Bruno in the early 1990’s. Each amp is hand built, wired, and tested by Mr. Bruno exclusively. Each amp can be ordered with custom options such as exotic woods, NOS tubes, and different colors if tolex is used. Each amp is custom voiced to the purchaser’s wishes. Unique circuits, and meticulous craftsmanship are what people come to him for. In most cases the amps are ordered on a custom basis. Limited numbers are given to a small group of dealers for resale in local shops. There are a large variety of different types of amps available, with almost unlimited possibilities. His amps are owned and used by several famous studios and musicians.

See www.brunoamps.com for more information.

K & M Analog Designs
Bill Krinard and Joe Mloganoski started the company K & M Analog Designs in the mid 1990’s. The amps are made under the name Two-Rock, with several models and variations available. The early amps were designed to be similar to Dumble amps, and quickly became popular. More recent amps have unique designs and their own tonal characteristics. All amps are handmade, and hand wired with complete oversight by Bill. These amps have become in demand with a waiting list. They’re sold to dealers for distribution, not custom voiced like some other small amp makers. Dealers are back ordered, and the interest is increasing with time.

See www.two-rock.com for more information.

Palette Amplifiers
Palette Amps are designed and crafted by Robert Wakeling. The company was established in 2001 with the goal of creating a master crafted amplifier. Robert has over 30 years of experience in the high-end audiophile community, with several degrees in the field. He brings his expertise into the guitar community and integrates these designs with traditional guitar amp techniques. The result is beautifully made products both visually, and sonically. The finest components available, hand selected woods, military specification wiring, and audiophile grade electronics are used with cost as no object. Even though he is a relative newcomer to the guitar field, several professional musicians are using his products regularly on tour and in the studio. He offers a head, a combo, and a new smaller combo made of exotic woods to the customer’s specifications. Matching extension cabinets are available in different sizes and speaker configurations.

See www.paletteamps.com for more information.

John Landgraff Amplification
John Landgraff started his company, John Landgraff Amplification, in the late 1990’s after repairing and modifying amps for over 15 years. He makes every amp by hand, and has no employees, website, or marketing. One Tweed style 20 watt Deluxe combo, and one Marshall/Tweed Bassman style 50 watt head are available. Matching cabinets are available as well. Some one-off amps have been made to order. Each amp is voiced to the person’s taste, and exotic woods are standard. Several studios use his amps. Very limited production, and about 20 amps total have been made. Many feel he is the next Alexander Dumble, or Ken Fischer in the master class of amps. His heads have sold for up to $5000, because the wait can be up to 2 years in some cases.

See www.bluesangelmusic.com for more information.

Conclusion
Boutique amps popularity and impact on mass manufacturers is evident. Some manufacturers have created custom shops such as Marshall and Fender, hand wiring amps like they did in the early years to compete in this huge market. Many smaller, to medium size amp makers are not mentioned in detail, and there has been a literal explosion in this market. Just about everyone with some knowledge and a soldering iron has been making amps. Some are great, and some not so great. I believe this is the second golden age of Tube Amp craftsmanship by individuals obsessed with great tone, with attention to the past and future. May it never end.

There’s a “lingo” that often goes along with the description of these amps and you’ll learn it. Methods of construction, electronic parts, cabinetry, and customization are key for boutique amps. We’ll look at what some of these are.
Finally, some boutique amps are like older vintage amps, some are modern, while others are a mixture of both. I cover this, too.

Origins
Boutique amps came about because of player’s demand for a quality higher than what they could buy at the average music store. Performance demands created different requirements that only custom amps could fulfill. The addition of distortion, volume, and varying effects in popular music has changed amps through the years. When Eric Clapton played a Marshall amp distorting the tubes by playing at full volume, it changed the way amps were used. As bands played bigger stadiums, bigger amps with more volume were needed to compete with the sound systems. The addition of fuzz and wah pedals by Jimi Hendrix and others changed the way amplifiers sounded, and circuit changes were needed to accommodate this. Existing amps could not do this, so bigger amps, with different circuits were created.

Guitar players can be very adamant about the sound of their instrument, and want a product that delivers a unique tonal quality. This is where the custom-made boutique amp comes in to satisfy these performance demands.

Two Styles of Creation
There are two styles used in creating these amps: Manufacturing printed circuit boards and an old process called point-to-point wiring.

Before the advent of the transistor and circuit boards, amps and electronics were mounted to thin eyelet boards made of compressed paper fibers, or a plastic/phenolic type of material. These electronic components were then soldered to the board and connected by electrical wire to the different parts. This method was (and is) labor intensive, requiring someone with a lot of skill and experience to make a durable product that also sounded good.

When circuit boards were created, many amp makers began using them to cut labor costs and time. They were also able to increase production and output volume. All the wires could be etched onto a circuit board, and components mounted directly onto the board often by machines, or an assembly line. This let the manufacturer make more amps at a lower cost. However, the quality of the sound often suffered with poor conductivity, cheaper made components, and lack of attention to detail. These circuit boards were often hard to fix or replace. This made a broken amp disposable.

So, vintage amps using the “old” style of craftsmanship came in demand since many musicians felt they both sounded better, and were more durable. Because of the time and care involved, prices increased. For after sale service, technicians were needed to repair and maintain them. As technician’s skills increased, many felt they could build amps based on the vintage styles, even improving some of the original circuits.
Thus, almost every boutique maker started first as a technician, and then as a custom builder.

Some boutique companies have created very high quality circuit boards using superior grade components while hand wiring the vital parts to create a hybrid of new and old. This method is common in the larger volume boutique company to keep costs down, while still delivering a high quality product that a consumer can afford.
For me, I feel the original point-to-point method is the best when done by a highly skilled technician. I’ve found these amps seem to be more durable, easier to service, and to my ears, produce a superior quality sound.

Vacuum Tubes and Amps
Vacuum Tube technology is most often employed in this type of amp. This older technology still dominates the boutique market because of a tube’s unique tonal characteristics. A tube reacts to the signal passing through it and makes a distinct tone that’s considered pleasing to the ear by many musicians. By comparison, transistors can sound harsh.

Vacuum tubes are still made in the former Soviet Bloc countries, and China. But some players consider these inferior, so old US and European made tubes, have become in demand because of the perceived higher quality. These older vacuum tubes have become very expensive and are difficult to find in good condition. Vacuum tubes do wear out and have to be replaced. Original unused vintage tubes are called NOS for New Old Stock. These are used by some of the boutique amp makers, and can cost several hundreds of dollars for the upgrade.

Transformers
Transformers are also an integral part of a boutique amp’s sound. They are also the most expensive part of the amp. Transformers control the voltage coming into and out of the amp. They’re metal plates bolted together with thin strands of wire wrapped around them. The type of metal used, the wire, and the size affect the sound and power handling capabilities. Many boutique amp makers have their transformers custom wound with special components and metals to create the company’s signature sound. Aftermarket companies now make reissue transformers and custom transformers for most applications. Some are quite expensive, but have superior quality tone.

Electronic Parts
Electronic parts also affect the quality of sound. This includes capacitors, resistors, volume potentiometers, tube sockets, and input jacks. Higher quality made parts are considerably more expensive, but react better in tonal qualities, and durability when put into a tube circuit. Each component can add to the quality, or detract if a lesser quality part is used. The gauge and quality of wire and solder used is important, too. That’s because the more freely electrical current flows to and from the electronics can make or break an amp, literally. Each component is vital for a successful boutique amplifier.

Amp Cabinets
The cabinet the amp chassis sits in is part of the boutique amp experience. Some of the woods used are antique pine, figured maple, oak, zebrawood and others. The method used to make many of them is the same used on fine furniture and cabinetry. The corners are usually made with a method called “finger jointing” or “dove tailing.” This procedure uses a special tool that notches the wood creating “fingers” that fit together like a puzzle. This increases the strength of the corners. When finished with clear lacquer, it’s quite beautiful.

Some cabinets are covered with a heavy cloth type of material usually referred to as “Tolex”. Vintage amps were covered with this material from a manufacturer that called their product “Tolex”. Even though the material used today is from different manufacturers, most people still use this name to describe it. Many colors and patterns are used, usually as a custom option. Knobs and faceplates are often custom made, too. For some player’s the amp’s appearance is almost as important as the sound. Many options are available, and some makers will do almost anything, for a price.

Price
Price is the other thing that sets apart most boutique amps. Several thousand dollars for an amp is common, and it’s usually bought by skilled musicians and collectors with disposable income. The people who buy these amps know what they’re looking for and have specific needs. These amps are like custom sports cars like a Corvette, Viper, or in some cases a Ferrari or Lamborghini. If you have the money you can get whatever features you want.

Kinds of Amps

Types of amps are important in selection of a custom amp.

Amplifier Heads
A stand alone amp with just the electronics and chassis inside of a cabinet is referred to as a “head”. These amps have no internal speakers, and need a separate cabinet with speakers inside to create sound. They are connected with a speaker cable to jacks installed on the back of the amp and cabinet. These types of amps are usually of a higher wattage and used in louder applications.

Combo Amps
The next type of amp is a cabinet that houses the electronics chassis, and a speaker (or speakers). These are called combo amps, which is short for the combination of electronics and speaker(s). One is not better than the other, just different. Each can be used for different applications, and most manufacturers make both types.

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