Many players consider a vintage Fender combo to be ideal for clean tones and an iconic Marshall to be the classic dirty sound. 8ohm mono or 4ohm/4ohm stereo with a small switch. Multiple stereo tremolos… you get the idea. Its kinda fun, but I do worry that people close to the stage or not centered will not get whats going on. Then, there's whether the guitar amp is a head or a combo. The question of head versus combo has been complicated in recent years by the dawn of the pedalboard amp – a guitar amp that’s housed in an enclosure the size of a small multi-effects, yet often powerful enough to replace your amp head. Sound is so brilliant and perfect combination to blues it just makes my sole sing. Some popular, well-made and readily available ABY pedals are the Morley ABY or Morley ABY “Mix” (with separate volume controls for blending both amps) and the Radial BigShot. It’s amazing how many guitarists don’t know how to EQ a guitar amp. The simplest and lowest cost solution is a preamp pedal. No cables. Some amps—such as the Marshall JCM800 or Mesa Boogie Dual Rectifier—have massive low end and plenty of gain, but lack clarity and upper mid-range punch for cutting through a mix. I would just send each signal to its own separate amp if you want and can work with 2 amps. I always just play through two heads, never switching between the two but if I did switch between A and B, the Morley ABY is quiet. If you have a posse of enormous roadies, you could even go all Mark Tremonti and have a couple of amps for your clean tones (often Fender combos, in his case) and then an A/B/Y setup … While some DAWs, like Apple’s Logic and Garageband, come with guitar amp simulation built in, most don’t and, great though these bundled plugins are, many people will find that most of the dedicated 3rd party options offer a good deal more flexibility and better sounds. UNDER NO CIRCUMSTANCES should you try to be clever by removing or “lifting” the line ground from one of your amps. This will cause your stereo signal to be smooshed (a technical term) into mono, tragically thwarting the juicy stereophony of your expensive wobblebox. I love my sound and the ABY was the best thing I ever did as far as playing live is concerned. Joe Bonamassa's rig for a show at Red Rocks (Image from Twitter). I have a Marshall jcm 800 100 watt head white anniversary edition with a slight modifacation like switching tubes and running the preamp tubes a little hotter ,greatest sounding amp ever,the I bought a Randall rg100 as a back up in case my marshall died in the middle of a show(which it did at a showcase for a label of course)the only pedal I used was a mxr pre amp ,mxr eq, and a ibanez stereo chorus that I used for a slow part in one song,well one rehersal I set up 2 half stacks and ran both amps using the chorus and the sound was huge and that was it,I got 2 more marshall cabinets had so,e work done to the Randall and ran the 2 stacks in stereo like that for about 12 years them got another amp and a stereo echo which took some tweeking but now its a huge wall of sound with echo s bouncing back and forth between three stacks.the first 3rd stack was a saldono(so The Different Types of Guitar Amp Attenuators Passive Amp Attenuators. I never played two amps, i see no use for me. The only way to hook up 2+ heads to a single cabinet is by using a Radial Headbone or similar. Session guitar players such as Brent Mason often bring four or more amplifiers to recording sessions. My rig is split from the last pedal on my mainboard (boss DD3) with dry to a Peavey classic 50 212 combo, and wet to a Carvin X-60 halfstack (old Acoustic 4×12 cab.) They’re also packed with features: amp modeling, a cab-simulated direct out, built-in effects with a tap tempo, a tuner, and 3 footswitchable channels. Also rather informative article. As an example, the legendary Eric Johnson—well known for his obsession with great tone—famously uses a pair of CBS-era Fender Deluxes for cleans, and a pair of 1959 Handwired Marshall Plexi Reissues for dirt with an A/B pedal to switch between them. Plug in, Play. A rather more sturdy method would be to buffer the signal with some intervening device. If I play normal mono guitar and want both amps playing I just use multieffect stereo pedal. Why do you suggest either side of the stage? This setup is the same as the first one above, however, the volume pedal has been placed near the end of the chain right before the delay and reverb effects. If it’s in your budget and you have room onstage, this is a great approach. I have now two stereo guitars (one built by me and one modified by me). ‘Cause the JCM 800 haven’t one… So, how I change my clean and dirty sounds, considering that I WILL use the JCM distortion? I have always preferred the sound of two at once, but never felt like carrying setting up / sound-checking / the sound check takes twice as long because two amps introduce variables to the room sound. Do NOT use an A/B/Y splitter box etc. It’s pretty simple really, if your guitar amp isn’t set up correctly you won’t sound good. Santa Barbara, California. There are always a heap of things that can go wrong with any guitar rig, but when it comes to using more than one amplifier, I’m going to focus on two of the most common problems: The dictionary defines a ground loop as: “an unwanted electric current path in a circuit resulting in stray signals or interference, occurring for example when two earthed points in the same circuit have different potentials.” If, like me, you failed high school physics, now would be an appropriate time to say “Oh. Employ the usual method for choosing an amp, but execute it as many times as necessary. The best combination is a fuzz tone with lots of bass and treble in one channel combined with a modern high gain with no treble and mids all the way up in the second channel. But for the working player who may not be able to afford—nor desire to haul—an exact duplicate, there are many alternatives. sounds pretty damn huge. 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