Oh, dude, "amping" in Bisaya is like "ingat" in Tagalog. It's basically just a way of saying "take care" or "be safe." So, if someone tells you "amping" in Bisaya, they're just looking out for you, man.

"Take care" in Cebuano dialect is "Mag-amping ka."

Methamphetamine overdose can be acute or chronic. The larger the dose the higher the risk

Bi-Amping is the technique in which you split a signal source with a crossover, and then each resulting signal path is amplified separately and then sent to the speaker enclosures. Most commonly used in Live Sound reinforcement and Hi-Fi monitoring systems, this allows each signal to be independently amplified for each speaker. Tri-Amping is splitting the signal into three signal paths, usually with a crossover, one signal is processed and sent to the Tweeter, another to the mid-range, and one to the woofer.

This is where the low-frequency driver, or woofer, is wired to a separate amplifier than the high-frequency driver or drivers. Also called bi-amping.

Bi-amping means using a crossover filter to separate high and low frequencies, and sending them to two separate amplifiers, which power the high- and low-frequency drivers in the speaker separately. This is in contrast to the use of a single amp and a passive crossover filter.

The primary advantage to bi-amping is lower distortion, due to a) more accurate, active crossover circuitry, b) better impedance matching between the amp and the driver, c) no passive components between the amp and the drivers, and d) no electrical interaction between the drivers. The frequency response is improved, also, due to better phase matching between drivers in the crossover range.

1. Fame and fortune.

2. Just rocking out.

3. Amping up a party.

4. Gettin' chicks.

5. Winning against scissors.

Baka aayewan mo akla agko anta HAHAH ibagam la kasi tay ibabagam

Sorry, sir mix a lot, but that is a no can do, as you can make a flat one more muscular, but you might have a chance at your goal by dieting and amping up your exercise routine, which would cut your fat out of it, as well as make it a little less bouyant.

Amps (short for amperes) is a unit of measurement for electric current. It quantifies the rate of flow of electricity through a conductor. It is a key component in determining the amount of electrical power being used in a circuit.

According to SOWPODS (the combination of Scrabble dictionaries used around the world) there are 29 words with the pattern --PING. That is, six letter words with 3rd letter P and 4th letter I and 5th letter N and 6th letter G. In alphabetical order, they are:

amping

caping

coping

doping

duping

gaping

hoping

hyping

imping

japing

loping

moping

naping

ooping

ouping

piping

raping

riping

roping

siping

syping

taping

toping

typing

umping

upping

urping

wiping

ymping

Out of box answers is the speaker will accept bi amping if there is a socket on the back accepting two kings of signals high/mediums & low/mediums. If not then the speaker has it's own internal cross over curcuit and will do sound division on it own. to bi amp a speaker with out internal crossover you need two amps and an external crossover unit which will allow you to split the sound as mentioned above. then you must wire your hook ups accordingly making sure each speaker and horn gets a corrisponding signal ie... never send low sounds to the horns and vise a versa. if you really got deeper questions check out peavey.com or Yamaha sells a great sound manuel.

my dad has a thing called mastiod process on the back of his head it is a bone close to his ear. I'm his son and i was wondering if it could be heriditary for me because i have a hard lump thing that is a bone I'm pretty sure. But its not in the same place it is about 3 inches from where my dads is and i was wondering if it is cammon or what?

thanks

Microphones range anywhere from a cheap $10 to several thousand dollars; but you don't need to spend too much money to get a well performing mic. For instance, the very popular Shure SM58 or Audix OM2 that you might see just about everyone using is only $99.

Look for a stereo amplifier with speaker-level inputs that can connect directly to the stock stereo unit in your 2000 Impala. Make sure the amplifier's power output matches the power requirements of your stock speakers to avoid any damage. Additionally, consider an amplifier with built-in crossover features to fine-tune the sound for your specific setup.

In the English language, words with "bi" that mean two include "bicycle" (a vehicle with two wheels), "binoculars" (optical instrument with two lenses), and "bilateral" (involving or affecting both sides). These words are derived from the Latin prefix "bi," which signifies the number two.

The mood of the story Dr. Heidegger's Experiment ranges greatly throughout the story. The beginning of the story has a subtly excited mood, amping up to ecstatic, and then back down to disappointment.

When it comes to working out there are a lot of ways to do it. One of the most cost effective ways to do that is to use a podcast. Podcasts however, like many different forms of free things out there, vary wildly in their quality. So how do you get from the best of them without having to find all of them manually? You could look at any number of them and find out they are not good, or at least not right for you. Sound like you are going to need some good recommendations to help you get started. So today, we are going to talk about some of the best exercise podcasts that you can get on the iTunes store at no cost to yourself. PodRunner Intervals If you like to run, or do any kind of cardio, then this will get you going. It features a bunch of high beat per minute music that you can use to get yourself motivated. Just do not try to use them to time your workout. The times on these tracks mixes range from 38 minutes to an hour and three minutes. The shows are broken up by the beats per minute that they give you. Just be aware that the higher the number the faster the song is going to go. So if you plan on working out with a slower pace you may want to pick something with a lower BPM. If you’re ready to crank it up then you are going to for a podcast with a higher rating. Fitness Skills Show If you want to get started on the basics of exercise then this podcast is the way to go. This podcast helps you to deal with basics, from how to do your stretching, to coping with common workout problems. This is a great place to start out if you are going to begin working out without the benefit of a personal trainer. The Model Health Show Good health, and sustaining a weight loss, is about making changes to your lifestyle. This podcast gives you helpful advice about a variety of different issues. It can help you from making mistakes with common issues including changes to your diet, amping up your workouts when you start seeing fewer results and dealing with issues that are going to be new to you. Just be sure that with like all advice you take it as what it is, generic advice. If you have specific issues with your health then you will need to seek the advice of a medical professional who is familiar with your situation. There you have it. Of course not all of them are going to be right for you and your needs. You are going to have to check out the selection and find the one that is right for you. So get to choosing and then you can get to exercising without costing yourself a single dime. You are going to be in shape in no time at all.

Yes it does matter it needs to be enough to allow the circuit to work, but not too much so it can prevent the circuit from over Amping, fuses are for the safety of lives, and the protection of the equipment

It's tough enough being a busy mom--but exercise? Who has time for that? While fitting anything into your schedule, especially exercise, may seem impossible with a handful of little ones to take care, it's definitely doable, according to ACE-certified personal trainer Kim Summers. "When I first became a mom I had no idea how I was supposed to take care of a new baby (who did not come with a manual), work, do the house work, cook dinner, and make it out of the house with a shower, much less workout [sic]," says Summers. "As the super power that comes with being a mom slowly surfaced, I realized that I needed to get creative. I needed to practice what I preached to my clients." If you too are struggling to figure out how to fit in exercise while being a busy mom, here are some tips to make it easier: 1. Incorporate your kids into your routine. Kids love to play--and by adding them to your fitness routine, you don't need to leave them alone in order to get in a good sweat. Simply playing tag, Frisbee, or getting competitive with basketball or baseball are easy ways to stay active while keeping your kids entertained as well. As a bonus, kids who exercise are usually smarter kids as well, so they'll perform better in the classroom too! 2. Schedule a play date. Have young kids? Then consider scheduling them for a play date with other kids whose moms like to stay active. While they're entertaining themselves with other kids, you can have your own "fitness dates" with other moms--a great way to stay active. 3. Learn how to improvise at home. Chances are if you're a new mom, you don't know how much free time you'll have available--and you probably won't know until your kids go to grade school. To stay active, consider splitting up your normal 30 minute exercise routine into smaller, 5 to 10 minute segments instead. While few new moms have 30 minutes of free time to themselves, chances are they can find 5 or 10 minutes of downtime here and there--the perfect time to add in a short workout. 4. Work out in a gym? Find one that offers childcare. Some gyms offer childcare while you work out for free or for an additional fee, so if you really need to fit in a workout, take advantage of this. "If finding a sitter is what keeps you from working out, sign up at a gym that offers it," says Summers. Also, if you're really crunched for time, ask someone else to babysit while you're getting in a workout--such as your spouse, mother, or friend. After all, all moms need breaks; and amping up your exercise routine will make you a healthier mom as well!

It's a problem we all face: After a long, grueling day at work, you know you need to exercise, yet the fatigue of working a 12 hour day has you worn out. The statistics show most of us aren't likely to follow up with exercise after work either--according to a recent report by the Centers of Disease Control and Prevention (CDC), only 20.3 percent of us are meeting the aerobic and strength-training activity recommendations set by the organization. So how do you make exercise a priority after a long, grueling day at work? Ben Greenfield, an exercise expert for Quick and Dirty Tips, has the solution. "Even for a guy like me who’s really into fitness, it can still be hard to work out after a long day at the office," says Greenfield. "Over time, I realized that there’s a big, big difference between being active on your feet all day, sitting in front a computer." So what do health experts recommend to get you out of your exercise rut? 1. Bring your workout equipment with you to work. It can take considerable time getting ready to work out--such as removing your work clothes in lieu of more appropriate workout-friendly clothes. Chances are if you set foot inside your home after a busy work day, however, you'll feel more motivated to take a snooze instead of getting to the gym. Yikes! What to do instead: Instead of going home to change, cut out the extra work by bringing your workout clothes and equipment to work. You can change in your work bathroom right after your shift ends, increasing the likelihood that you'll carry through with your daily workout session. 2. Sign up for a gym class. Nothing motivates people more than spending money to join a class--and chances are you'll be less motivated to skip working out if there's a class you have to attend. Joining a class also puts less stress on you to perform since you'll have an instructor helping you work out. Alternative:Can't sign up for a gym class? Instead, try getting a gym buddy instead--and schedule time after work to meet up. It's easy to be delinquent with workouts when you're working out alone, but with a gym buddy you risk ruining both of your workouts if you miss out. 3. Stay hydrated. It may sound like an odd tip, but getting dehydrated before your workout can actually lower your motivation. Why? Dehydration doesn't just make you thirsty--it's more likely to make you tired, irritable, or get a migraine, all problems that can interrupt you from getting in a good workout. What to do instead: To stay hydrated, drinking enough water before working out is essential. For ample hydration, try drinking at least 20 oz. of water every hour or so, amping up the hydration an hour before your workout. Not only will this scare away fatigue or migraines, you'll probably feel more energetic too--something that will get you into the gym!

Tender meat, fish and poultry, ham, bacon, shellfish, and lunch meat.

Eggs, tofu and creamy peanut butter.

Dairy products if tolerated.

White rice and pasta.

Baked goods made with refined wheat or rye flour, such as bread, biscuits, pancakes, waffles, bagels, saltines and graham crackers.

According to SOWPODS (the combination of Scrabble dictionaries used around the world) there are 518 words with the pattern ---I-G. That is, six letter words with 4th letter I and 6th letter G. In alphabetical order, they are:

aahing

abling

abying

aching

acting

adding

adzing

ageing

agoing

aiding

ailing

aiming

airing

amping

anting

apting

arcing

arking

arling

arming

arsing

ashing

asking

aswing

auding

aweing

awning

baaing

baking

baling

baning

baring

basing

bating

baying

besing

beting

biding

biking

biling

biting

bluing

boding

boking

boning

booing

boring

bowing

boxing

boying

busing

buying

byding

byking

caaing

caging

caking

caning

caping

caring

casing

caving

cawing

ceding

cering

ciding

citing

cluing

clying

coding

coking

coming

coning

cooing

coping

coring

cosing

coting

coving

cowing

coxing

coying

cozing

crying

cubing

cueing

curing

daeing

daring

dating

dawing

dazing

deeing

deking

dering

dewing

dicing

dieing

diking

dining

diting

diving

doling

doming

doning

doping

dosing

doting

doving

dowing

dozing

drying

duding

duking

duping

during

dyeing

dyking

eaning

earing

easing

eating

ebbing

eching

edging

effing

egging

eiking

elding

elfing

ending

enring

erning

erring

euking

ewking

eyeing

faaing

facing

fading

faking

faming

faring

fating

faxing

faying

fazing

feeing

feting

feuing

feying

fifing

fiking

filing

fining

firing

fixing

flying

foxing

froing

frying

fuming

fusing

fuzing

fyking

gaeing

gaging

gaming

gaping

gating

gazing

geeing

gibing

gieing

giving

gluing

goring

gruing

guying

gybing

gyring

gyving

hading

haeing

haling

haming

haring

hating

having

hawing

haying

hazing

heling

heting

hewing

hexing

heying

hiding

hieing

hiking

hiring

hiving

hoaing

hoeing

hohing

hoking

holing

homing

honing

hoping

hosing

hoving

hoxing

hoying

hyeing

hyping

iching

idling

igging

imping

inking

inning

irking

isling

jading

japing

jawing

jeeing

jewing

jibing

jiving

jobing

joking

joling

jowing

joying

juking

kaeing

kawing

keying

kiting

lacing

lading

laking

laming

lasing

laving

lawing

laying

lazing

leeing

leming

lering

liking

liming

lining

liting

living

lobing

loming

looing

loping

loring

losing

louing

loving

lowing

loxing

lubing

luging

luring

luting

lysing

lyting

maaing

macing

making

masing

mating

mawing

maxing

maying

mazing

mening

mering

meting

meving

mewing

miking

miming

mining

miring

mixing

mooing

moping

mosing

moving

mowing

mozing

muling

muring

musing

muting

muxing

naming

naping

newing

niding

nixing

nosing

noting

noying

nuking

oaring

obiing

offing

ogling

oiling

onding

onning

oohing

ooping

oozing

opting

orbing

ouping

outing

owling

owning

pacing

paging

paling

paning

paring

paving

pawing

paying

peeing

pening

pieing

piking

piling

pining

piping

pizing

plying

poking

poling

pooing

poring

posing

poting

poxing

prying

puking

puling

puring

pyeing

pyning

pyxing

racing

raging

rahing

raking

raping

raring

rasing

rating

raving

rawing

raxing

raying

razing

reding

reking

ricing

riding

riling

riming

riping

rising

riving

robing

roding

roking

roping

rosing

roting

roving

rowing

rueing

ruling

ryking

safing

saning

saring

sating

saving

sawing

saying

seeing

sering

sewing

sexing

shying

siding

siling

sining

siping

siring

siting

sizing

skiing

skying

slairg

sluing

soling

soring

sowing

spaing

spring

spuing

spying

string

stying

suring

syeing

syning

syping

taeing

taking

taming

taping

taring

tawing

taxing

teaing

teeing

tewing

ticing

tiding

tieing

tiling

timing

tining

tiring

toeing

toking

toling

toning

toping

tosing

toting

towing

toying

tozing

truing

trying

tsking

tubing

tuning

tyeing

tyning

typing

tyring

ugging

ulling

umping

unking

upping

urging

urning

urping

vading

vexing

vicing

viking

vining

viring

vising

voling

voting

vowing

wading

waging

waking

waling

waning

waring

waving

waxing

waying

weeing

wexing

wifing

wiling

wining

wiping

wiring

wising

witing

wiving

woning

wooing

wowing

wrying

wyling

wyting

yawing

yeding

yeving

yexing

yiking

ymping

yoking

yowing

yuking

zoning

dog

god

bog

fog

gin

gun

gap

gad

gab

bag

gag

egg

ego

age

ugh

gut

fig

sag

dig

6 letter A words: * abound * ablate * accost * accuse * adjust * admire * allure * almond * almost * animal * answer * appeal * appear * artist * around * ardent * arouse * assist * assume * aspire * assign * astute * attire * atrium * avenue * avenge

i found this text in my gf profile talking with someone. it seems for me that she is cheating but i can't understand the language, i know it's a long text but i reallly need some help in translating it or to have a brief summary. millions thxs in advance.

this is the text:

He: Beh,ang taba muna pala ah...jejeje!!!pro mganda at maputi ka nman???

She:hahahahahahaha.salamat po

She:hey

He:yes my beh...kmsta mn ka???

She:ok lang

She:ikaw/

She:?

She?online man lagi ka?

He:ok lng pod ug Sunday ako larga,nausab mn....luv u

She:ha Sunday na diasy/

She??

He:oo,tawag lng ko nmo ugma ha...miss u my beh...

She:ag ym ta kadiyot beh

He:la my cam ni ako g gamit krn beh..

She:ok lang ako mag view sa imo

She:para kita ka nako

He:ok rman kaha beh...

She:oo

She:nganung dili man

He:la lgi cam beh...

She:cge ayaw na lang

He:ok beh...luv u always...amping baya dha ha...

He:bhe,dia nako Mexico krn ug ng,hotel pa me?msta­­

He:duty b nmo krn beh...tc­­

She:wala

She:tapos na

She:musta man ka?

She:sorry wala ko katawag ha kay nakatulog nako

He:ok lng beh...dia me ng,hotel krn dri sa Mexico...tc dha beh ha..­­

She:kinsa man na imo gigamit na laptop?

He:sa ako kaubn beh...nki gmit lng kariyot?­­

She:pwede ta mag ym beh?

He:add mo ako Ym asap...at ano yung Ym mo?­­

She:ini add na kita

She:i accept mo na lang

She:i open mo yong ym mo now na

He:wait....­­

He:wala­­

She:i add mo na lang ako beh

She:......@yahoo.com

He:ano yung YM mo?nakalimutan ko­­

She:nakita mo na?

He:bhe,la pa lgi u m2log...­­

She:karon taod2

He:ok...la pa me mangaon mn?tc­­

She:nganu man?

He:sau pa mn beh...6:30 pa me mgkaon?luv u­­

She:maot nako karon kita naman jud ka

She:?

He:dli mn beh oi...ako noon?­­

She:unsay dili?

He:dli maot gud...­­

She:maot oi

He:ug ikw unsa mn pod imo tan,aw nko beh...­­

She:gwapo

He:hmmm...atik lng ko nmo dah?heheh­­

She:bitaw

He:itom n bya ko beh?­­

She:ningputi noon

He:ikw,KY puti na maulaw nko nmo pohon..­­

He:mgpkta?­­

She:nganu kaha

She:karon paka maulaw

She:mura man kag tala

He:cge,tala nman kaha ko...hlak jud ko krn?­­

She:hilak diha

He:lipay mn pod ka beh b nga mo hilak ko..huhuh­­

She:tala jud oh

She:kabalo na imo kauban na karon pa ta nag cam to cam

She:?

He:oo,ok raman cya beh...tc­­

She:hahahaha

She:love pa japon ko nimo after ko nimo nakita sa cam?

He:luv gud beh...ikw,luv b kaha pod ko nmo?­­

She:love oi

She:naunsa man ka oi

He:hmm...tnuod b beh?­­

She:dili ka motoo?

He:tinuod b lgi human u kta naho...­­

She:oo lagi

She:nothing change

He:salamat kung ganun...­­

She:nganu mang kapangutana man ka ana karon?

He:KY nkta nman ko nmo sa personal...­­

She:unya?

He:basin ikulaw hehehnko nmo beh...­­

She:buang

He:btw....­­

She:ay bahala ka oi

He:KY hilig ra b ka ug gwapo...heheh­­

She:kung gusto ka mu atras sa ato sabot way problema

He:btw beh,luv jud ka nako?­­

She:unya?

He:ug atras b gud oi...­­

She:kinsa man nag ingon sa imo na hilig kog gwapo ba?

He:hehehe...ako?joke­­

She:ambot sa imo oi

She:ikaw hilig man gani kag gwapa

He:hmm...dli beh oi...knsa b pod ko KY mili ug gwapa?­­

She:hahahah

She:so buot pasabot maot jud diay ko

She:paita ani oi

He:tan,aw lng jud ko nmo ba...­­

He:dli oi...ikw b?­­

She:ikaw baya nag ingon

He:n­­

He:unsa oi­­

She:hahahhah

He:beh,sakit ako likod ba?­­

She:balik ra ko kadiyot lang

He:kiss sa ko beh..pra mwala..hehehe­­

She:nganung ningsakit man na?

He:sa byahe guro ni KY layo jud amo g,traavel...­­

She:kaluoy Dali ato hiluton

He:la raba ko ka palit ug tambal ba..­­

He:hmm...Dali ari sa Mexico beh...hehehe­­

She:pwede?

He:hmmm...pg,sure beh...hahaha­­

She:imo ko ilibre og pamasahe

He:hmm...Dali beh?heheh­­

He:btw,mgkta lng ta pohon beh ha...luv u­­

She:when man ka makauli ana puhon?

He:2012 pa jud ko pohon makauli beh?pait­­

She:pag ym beh

He:1st week ng Jan...ikw?­­

He:chat nlng gud ta beh...pwede ­­

She:ok

She:august pa mahuman ako contract oi

He:tnx beh...luv u so mch­­

He:ok,bsta amping lng knunay ha...­­

She:after sa imo contract musakay na pud kag balik?

He:ambot lgi beh...KY tagaan mn gud me ug line,up dyon..­­

She:unya?

He:bsta,tigom sa ko beh ha...b4 ko dsyd nga mg,minyo ta?­­

She:maova

She:after 5 years?

He:no,after 3yrs beh...­­

She:ha?

he:ngano ha mn beh...­­

She:ingon ka 2013

He:oo,bsta naa ipon beh...luv u­­

She:WA man klaro oi

He:tiaw gud wla beh...ngtarong bya ko nmo?­­

She:ingon man ka after 3 years

She:kadugay ato oi

He:btw,tigom sa lgi ko beh..KY ako baya laki?­­

She:cge matulog nako

She:bye

She:ikaw gud bahala oi

She:ikaw pagbuot sa imo life oi

He:ok beh...luv u­­

She:cge ayo2 na lang

She:ako pa nimo ayaw na lang pagminyo

She:para forever ka naa sa imo pamilya

He:dli pod beh oi...ikw b KY lain...­­

She:kalimti na lnag to ato plano

She:kay ako mag re contract na lang pud ko dre

She:ok cge tulog nako

He:beh...laina pod oi,,,­­

He:cge 2log nlng KY kapoy raba ka?­­

She:basta Mao NATO ako palno

She:plano

He:nga unsa mn beh...­­

She:from now on dili nako magbuot sa imoha

She:ok

She:iya2 ta og plano

He:cja KY msuko dyon...­­

She:ay da gikapoy nako

He:ayaw gud ana beh..pls­­

He:cge na beh,2log na KY pra mka relax ka?ako pod dri krn,,,­­

She:di pag relax na

He:luv u so mch my beh...mwah­­

She:i cant answer taht one anymore

She:that

He:hmmm,,,,suko jud dah...­­

She:it seems like youre not ready then i wont force you

He:ready ko beh oi...dli pa jud enuf ako money?­­

She:Mao gani di ayaw na lang pagminyo kay imo money enough man lang sa imo family

She:ok

He:beh...ayaw gud pg,ana?­­

He:luv raba jud nako...­­

She:ambot lang na imo gitawag na love kung asa na adulong

He:ikw b,KY la japon ka motoo nako...­­

She:unsa may ako toohan Vincent?

She:pirme na lang ka ani

He:nga ikw lgi ako minyoan beh...­­

She:ambot!!!!!!!!!!!!!!!!!

He:ikw gud,ug dli ka m2o nako beh...miz u­­

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He:pra msayod gyud ka nga seryoso q nmo beh...ug ok ra mn b qng dli p ta kaslon?

She:maova diha diay masukod kung seryoso ka or dili?

He:oo beh...pra mkta ang matag-usa ka ugali NATO duha qng angayan b gyud ta?tc

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He:hmmm....hlak nlng q sa tago beh...

She:ok ra man mag ipon pero way tandugay

He:oo b...

She:dili ko oi kasab!an ko sa ako mga maguwang

He:adto gud q pra mkta q nla beh nga seryoso q nmo?

She:sure?when man?

He:kanus-a lgi ka uli mn beh... exact na date pra kblo q?tc

She:basin sa December next year lagi

She:puhon

He:ok,bsta tawag2 lng q nmo beh ha..off q KY 2g nq beh..luv u

She:pag uli nako puhon kuyog ka sa akoa?

He:oo,b...ug beh...off q KY 2log na jud q?bsta sabot nata ha...

She:ok

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He:ok beh...luv u so much

She:love you too

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She:paghinay sa work

He:ok beh...tnx

She:bye

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (September 2009) Mesa Boogie Mark IV, a guitar combo amplifier A guitar amplifier (or guitar amp) is an electronic amplifier designed to make the signal of an electric or acoustic guitar louder so that it will produce sound through a loudspeaker. Most guitar amplifiers can also modify the instrument's tone by emphasizing or de-emphasizing certain frequencies and adding electronic effects. Amplifiers consist of one or more circuit stages which have unique responsibilities in the modification of the input signal. The power amplifier or output stage produces a high current signal to drive a speaker to produce sound. One or more preamplifier stages precede the power amplifier stage. The preamplifier is a voltage amplifier that amplifies the guitar signal to a level that can drive the power stage. There may be one or more tone stages which affect the character of the guitar signal: before the preamp stage (as in the case of guitar pedals), in between the preamp and power stages (as in the cases of effects loop or many dedicated amplifier tone circuits), in between multiple stacked preamp stages, or in feedback loops from a post-preamp signal to an earlier pre-preamp signal (as in the case of presence modifier circuits). The tone stages may also have electronic effects such as equalization, compression, distortion, chorus, or reverb. Amplifiers may use vacuum tubes (in Britain they are called valves), or solid-state (transistor) devices, or both. There are two configurations of guitar amplifiers: combination ("combo") amplifiers, which include an amplifier and anywhere from one to four speakers in a wooden cabinet; and the standalone amplifier (often called a "head" or "amp head"), which does not include a speaker, but rather passes the signal to a speaker cabinet or "cab". Guitar amplifiers range in price and quality from small, low-powered practice amplifiers, designed for students, which sell for less than US$50, to expensive "boutique" amplifiers which are custom-made for professional musicians and can cost thousands of dollars. Contents [hide] 1 History 2 Types 2.1 Vacuum tube amplifiers 2.2 Solid-state amplifiers 2.3 Hybrid amplifiers 2.4 Modeling amplifiers 2.5 Acoustic guitar amplifiers 3 Amplifier configuration 4 Distortion, power, and volume 4.1 Power output 4.2 Distortion and volume 4.2.1 Power-tube distortion 4.3 Volume controls 5 Use with other instruments 6 See also 7 References 8 Further reading 9 External links [edit]History The first electric instrument amplifiers were not designed for use with electric guitars. The earliest examples appeared in the early 1930s when the introduction of electrolytic capacitors and rectifier tubes allowed the production of economical built-in power supplies that could be plugged into wall sockets, instead of heavy multiple battery packs, since rechargeable batteries wouldn't be lightweight until later on. While guitar amplifiers from the beginning were used to amplify acoustic guitar, electronic amplification of guitar was first widely popularized by the 1930s and 1940s craze for Hawaiian music, which extensively employed the amplified lap steel Hawaiian guitar. Tone controls on early guitar amplifiers were very simple and provided a great deal of treble boost, but the limited controls, the loudspeakers used, and the low power of the amplifiers (typically 15 watts or less prior to the mid-1950s) gave poor high treble and bass output. Some models also provided effects such as spring reverb and/or an electronic tremolo unit. Early Fender amps labeled tremolo as "vibrato" and labeled the vibrato arm of the Stratocaster guitar as a "tremolo bar" (see vibrato unit, electric guitar, and tremolo). In the 1960s, guitarists experimented with distortion produced by deliberately overdriving their amplifiers. The Kinks guitarist Dave Davies produced early distortion effects by connecting the already distorted output of one amplifier into the input of another. Later, most guitar amps were provided with preamplifier distortion controls, and "fuzz boxes" and other effects units were engineered to safely and reliably produce these sounds. In the 2000s overdrive and distortion has become an integral part of many styles of electric guitar playing, ranging from blues rock to heavy metal and hardcore punk. Guitar amplifiers were at first used with bass guitars and electronic keyboards, but other instruments produce a wider frequency range and need a suitable amplifier and full-range speaker system. Much more amplifier power is required to reproduce low-frequency sound, especially at high volume. Reproducing low frequencies also requires a suitable woofer or subwoofer speaker and enclosure. Woofer enclosures need to be larger and more sturdily built than cabinets for mid-range or high-frequency (tweeter) speakers. [edit]Types Two combo amplifiers Guitar amplifiers are manufactured in two main forms. The "combination" (or "combo") amplifier contains the amplifier head and guitar speakers in a single unit which is typically housed in a rectangular wooden box. The amplifier head or "amp head" contains the electronic circuitry constituting the preamp, built-in effects processing, and the power amplifier. Combo amps have at least one 1/4" input jack where the patch cord from the electric guitar can be plugged in. Other jacks may also be provided, such as an additional input jack, "send" and "return" jacks to create an effects loop (for connecting electronic effects such as compression, reverb, etc.), an extension speaker jack (for connecting an additional speaker cabinet). Some smaller practice amps have stereo RCA jacks for connecting a CD player, iPod or other sound source and a 1/4" headphone jack so that the player can practice without disturbing neighbours or family members. Kustom 200 bass amp - amp head and speakers, 100 watts RMS, two channels, two 15" speakers, 1971 Some amplifiers have a line out jack for connecting the amplifier's signal to a PA system or recording console or to connect the amplifier to another guitar amp. In but most styles of rock and blues guitar, the line out is not used to connect the guitar amp to a PA system or recording console, because the tonal coloration and overdrive from the amplifier and speaker is considered an important part of the amplifier's sound. However, players do use the line out to connect one guitar amplifier to another amplifier, in order to create different tone colors or sound effects. In the "amp head" form, the amplifier head is separate from the speakers, and joined to them by speaker cables. The separate amplifier is called an amplifier head, and is commonly placed on top of one or more loudspeaker enclosures. A separate amplifier head placed atop a guitar speaker enclosure or guitar speaker cabinet forms an amplifier "stack" or "amp stack". Amp heads may also have the different types of input and output jacks listed above in the combo section. In addition to a 1/4" input jack, acoustic guitar amplifiers typically have an additional input jack for a microphone, which is easily identified because it will use a three-pin XLR connector. Phantom power is not often provided on general-use amps, restricting the choice of microphones for use with these inputs. However, for high-end acoustic amplifiers, phantom power is often provided, so that musicians can use condenser microphones. Amplifiers used with electric guitars may be solid-state, which are lighter in weight and less expensive than tube amplifiers. Most guitarists, particularly in the genres of blues and rock, prefer the sound of vacuum tube amplifiers despite their higher cost, heavier weight, the need to periodically replace tubes and need to re-bias the output tubes (every year or two with moderate use). Some companies design amplifiers that require no biasing as long as properly rated tubes are used. Some modern amplifiers use a mixture of tube and solid-state technologies. Since the advent of microprocessors and digital signal processing, "modeling amps" have been developed in the late 1990s, these can simulate the sounds of a variety of well-known tube amplifiers without needing to use vacuum tubes. Amplifiers with processors and software emulate the sound of a classic amp well, but from the player's point of view the response of these amplifiers may not feel the same as the digital modeling does not accurately model all aspects of a tube amplifier. A wide range of instrument amplifiers is available, some for general purposes and others designed for specific instruments or particular sounds. These include: "Traditional" guitar amplifiers, with a clean, warm sound, a sharp treble roll-off at 5 kHz or less and bass roll-off at 60-100 Hz, and often built-in reverb and tremolo (sometimes incorrectly called 'vibrato') units. These amplifiers, such as the Fender "Tweed"-style amps, are often used by traditional rock, blues, and country musicians.Traditional amps have more recently become popular with musicians in indie and alternative bands Hard rock-style guitar amplifiers, which often include preamplification controls, tone filters, and distortion effects that provide the amplifier's characteristic tone. Users of these amplifiers use the amplifier's tone to add "drive", intensity, and "edge" to their guitar sound. Amplifiers of this type, such as Marshall amplifiers, are used in a range of genres, including hard rock, metal, and punk. Bass amplifiers, with extended bass response and tone controls optimized for bass guitars (or more rarely, for upright bass). Higher-end bass amplifiers sometimes include compressor or limiter features, which help to keep the amplifier from distorting at high volume levels, and an XLR DI output for patching the bass signal directly into a mixing board. Bass amplifiers are often provided with external metal heat sinks or fans to help keep the amplifier cool. Acoustic amplifiers, similar in many ways to keyboard amplifiers but designed specifically to produce a "clean," transparent, "acoustic" sound when used with acoustic instruments with built-in transducer pickups and/or microphones. [edit]Vacuum tube amplifiers Main article: Valve amplifier The glow from four "Electro Harmonix KT88" brand power tubes lights up the inside of a Traynor YBA-200 bass guitar amplifier Vacuum tubes (valves) were by far the dominant active electronic components in most instrument amplifier applications until the 1970s, when semiconductors (transistors) started taking over for performance and economic reasons, including heat and weight reduction, and improved reliability. High-end tube instrument amplifiers have survived as one of few exceptions, because of the sound quality. Typically, one or more dual triodes are used in the preamplifier section in order to provide sufficient voltage gain to offset losses by tone controls and to drive the power amplifier section. Rear view of a tube (valve) combo guitar amplifier. Visible are two glass output tubes, six smaller preamp tubes in their metal tube retainers, and both the power transformer and the output transformer. The output tubes are often arranged in a class AB push-pull connection to improve efficiency; this requires another triode or dual triode to split the phase of the signal. The tubes of the power amplifier stage are almost always of the pentode or beam tetrode type (also known as "kinkless tetrodes", hence the KTxx nomenclature). Some high power models use paralleled pairs of output tubes (four or more in total) in push-pull. Except for the light negative feedback from the secondary end of the output transformer to the driver stage, most amplifying stages work in "raw" open-loop mode. Some designs employ current feedback via unbypassed cathode resistors. Since most tubes show "soft clipping" gain non-linearity, applying an input signal high enough to overdrive any stage tends to produce favorably natural distortion. Today, most vacuum tube amplifiers are based on the ECC83/12AX7/7025 (dual triode) tubes for the preamplifier and driver sections and the EL84/6BQ5 or EL34/6CA7/KT77 or 6L6/KT66 or 6V6 tubes for the power output section. Some use the KT88/6550 beam power tubes in the output stage. The differing codes for equivalent tubes generally reflect those used by the original European or U.S.A. based manufacturers. These tubes are now mainly manufactured in Russia, China and Eastern European countries. Some amplifiers, such as the Marshall Silver Jubilee, use solid-state components in the preamp, most commonly diodes, to create distortion, a design feature known as diode clipping. Tube instrument amplifiers are often equipped with lower-grade transformers and simpler power regulation circuits than those of hi-fi amplifiers. They are usually not only for cost-saving reasons, but also are considered as a factor in sound creation[citation needed]. For example, a simple power regulation circuit's output tends to sag when there is a heavy load (that is, high output power) and vacuum tubes usually lose gain factors with lower power voltages. This results in a somewhat compressed sound which could be criticized as a "poor dynamic range" in case of hi-fi amplifiers, but could be desirable as "long sustain" of sounds on a guitar amplifier. Some tube guitar amplifiers use a rectifier tube instead of solid-state diodes specifically for this reason. Unfortunately, most amplifiers offer a fixed amount of sag, and this fixed amount can only be attained at full volumes. A small minority of amplifiers offer sag control via either multiple rectifiers or the Sag Circuit (a non-traditional power supply design patented by Maven Peal® Instruments). Amplifiers with multiple rectifiers can offer up to two sag settings (amounts), while the Sag Circuit provides a Sag control knob, which allows range of sag control at all volumes (by interacting with a wattage control knob). Some models have a "spring reverb" unit that simulates the reverberation of an echoic ambient. A reverb unit usually consists of one or more coil springs driven by the preamplifier section using a transducer driver similar to a loudspeaker at one end and an electro-magnetic pickup and preamplifier stage at the other end that picks up the long sustaining spring vibration, which is then mixed with the original signal. Some guitar amplifiers have a tremolo control. An internal oscillator generates a low frequency continuous signal which can modulate the input signal's amplitude or the output tubes' bias, thereby producing a tremolo effect. Tube amps have the following technical disadvantages in comparison to solid-state amps. They are bulky and heavy, primarily due to the iron in power and output transformers. Solid-state amplifiers still require power transformers, but are usually direct-coupled and don't need output transformers. Glass tubes are fragile, and require more care and consideration when equipment is moved repeatedly. Tube performance can deteriorate slightly over time before eventual catastrophic failure. When tube vacuum is maintained at a high level, though, excellent performance and life is possible. They are prone to pick up mechanical noises (microphonic noise), although such electro-mechanical feedback from the loudspeaker to the tubes in combo amplifiers may contribute to sound creation. Tubes benefit from a heater warm-up period before the application of high tension anode voltages; this allows the tube cathodes to operate without damage and so prolongs tube life. This is of particular importance for amplifiers with solid-state rectifiers. Tube amps have the following technical advantages over solid-state amps. Compared to semiconductors, tubes have a very low "drift" (of specs) over a wide range of operating conditions, specifically high heat/high power. Semiconductors are very heat-sensitive by comparison and this fact usually leads to compromises in solid-state amplifier designs. When a tube fails, it is replaceable. While solid-state devices are also replaceable, it is usually a much more involved process (i.e., having the amplifier tested by a professional, removing the faulty component, and replacing it). For working musicians this is usually a huge problem by comparison to looking in the back of a tube amp at the tubes and simply replacing the faulty tube. In addition, tubes can easily be removed and tested, while transistors cannot. Tube amplifiers respond differently from transistor amplifiers when signal levels approach and reach the point of clipping. In a tube-powered amplifier, the transition from linear amplification to limiting is less abrupt than in a solid-state unit, resulting in a less grating form of distortion at the onset of clipping. For this reason, some guitarists prefer the sound of an all-tube amplifier; the aesthetic properties of tube versus solid-state amps, though, are a topic of debate in the guitarist community. [edit]Solid-state amplifiers This article's Criticism or Controversy section may compromise the article's neutral point of view of the subject. Please integrate the section's contents into the article as a whole, or rewrite the material; see the discussion on the talk page. (October 2011) Most inexpensive guitar amplifiers currently produced are based on semiconductor (solid-state) circuits, and some designs incorporate tubes in the preamp stage for their subjectively warmer overdrive sound. Tubes create warm overdrive sounds because instead of cutting the peaked signal off, they more or less pull the peaked audio information back (like natural compression) which creates a fuzzy overdrive sound. While this is a desirable attribute in many cases, the tube's characteristic will "color" all the sounds at any volume, unlike solid-state. High-end solid-state amplifiers are less common, since many professional guitarists tend to favor vacuum tubes. Some jazz guitarists, however, tend to favor the "colder" sound of solid-state amplifiers, preferring not to color the sound of their guitar with the tube distortion and compression so popular with rock, blues, and metal musicians.[citation needed]. Solid-state amplifiers vary in output power, functionality, size, price, and sound quality in a wide range, from practice amplifiers to professional models. Some inexpensive amplifiers have only a single volume control and a one or two tone controls[citation needed]. [edit]Hybrid amplifiers A tube power amp may be fed by a solid-state pre-amp circuit, as in the Fender Super Champ XD and the Roland Bolt amplifier, which is thereby classed as a 'hybrid' amp. Randall Amplifier's current flagship models, the V2 and T2, use hybrid amp technology. Alternatively, a tube pre-amp can feed a solid-state output stage, as in models from Kustom and Vox. This approach dispenses with the need for an output transformer and allow modern power levels to be easily achieved. The Roland Micro Cube, left, a small and portable digital modeling amplifier. [edit]Modeling amplifiers Modeling amplifiers use amplifier modeling to simulate the sound of well-known guitar amps, cabinets, and effects, as well as simulating the way traditional speaker cabinets sound when mixed with different types of microphones. They may also be an original creation not meant to simulate any particular real world guitar amp at all, instead allowing the user to create their own unique sound. Such as the original creations of companies like AcmeBarGig or Peavey. This is usually achieved through digital processing. Modeling technology offers several advantages over traditional amplification. A modeling amp typically is capable of a wide range of tones and effects, and offers cabinet simulation, so it can be recorded without a microphone. Most modeling amps digitize the input signal and use a DSP, a dedicated microprocessor, to process the signal with digital computation. Some modeling amps incorporate vacuum tubes, digital processing, and some form of power attenuation. [edit]Acoustic guitar amplifiers These amplifiers are designed to be used with acoustic guitars, especially for the way these instruments are used in relatively quiet genres such as folk and bluegrass. They are similar in many ways to keyboard amplifiers, in that they have a relatively flat frequency response, and they are usually designed so that neither the power amplifier nor the speakers will introduce additional coloration. To produce this relatively "clean" sound, these amplifiers often have very powerful amplifiers (providing up to 800 watts RMS), to provide additional "headroom" and prevent unwanted distortion. Since an 800 watt amplifier built with standard Class AB technology would be very heavy, some acoustic amplifier manufacturers use lightweight Class D amplifiers, which are also called "switching amplifiers." Acoustic amplifiers are designed to produce a "clean", transparent, "acoustic" sound when used with acoustic instruments with built-in transducer pickups and/or microphones. The amplifiers often come with a simple mixer, so that the signals from a pickup and microphone can be blended. Since the early 2000s, it has become increasingly common for acoustic amplifiers to be provided with a range of digital effects, such as reverb and compression. As well, these amplifiers often contain feedback-suppressing devices, such as notch filters or parametric equalizers. [1] [edit]Amplifier configuration A 3 x 6 stack of Marshall guitar cabinets for Jeff Hanneman of Slayer In the case of electric guitars, an amplifier stack consisting of a head atop one cabinet is commonly called a half stack, while a head atop two cabinets is referred to as a full stack. The cabinet which the head sits on often has an angled top in front, while the lower cabinet of a full stack has a straight front. The first version of the Marshall stack was an amp head on an 8x12 cabinet, meaning a single speaker cabinet containing eight 12" guitar speakers. After six of these cabinets were made, the cabinet arrangement was changed to an amp head on two 4x12 cabinets, meaning four 12" speakers, to enable transporting the amp rig. In heavy metal bands, the term "double stack" or "full stack" is sometimes used to refer to two stacks, with the main amplifier section of a second amplifier serving as a slave to the first and four speaker cabinets in total. Another name for the "Head & Cab" that comes from the 1960s and 1970s is "Piggyback". Vox amp stacks could be put on a tiltable frame with casters. Fender heads could be attached to the cab and had "Tilt-Back" legs, like those used on larger Fender combo amps. Typically, a guitar amp's preamplifier section (known as a 'pre') provides sufficient gain so that an instrument can be connected directly to its input, and its main amplification section (known as the 'power stage') sufficient power to connect loudspeakers directly to its output, both without requiring extra amplification. Some touring bands have used the appearance of a large array of guitar amplifiers for aesthetic reasons. Some of these arrangements include one or more actual guitar cabinets, while others do not. In reference to a photograph (left) taken during an Immortal gig, showing that what appeared to the audience to be a wide formation of equipment was actually only the fronts of amplifiers mounted on a large frame, Gizmodo writer Rosa Golijan investigated the phenomenon and found that it was "not too uncommon".[2] Another arrangement, often used for public address amplifier systems, is to provide two stages of amplification in separate units. First a preamplifier or mixer is used to boost the instrument output, normally to line level, and perhaps to mix signals from several instruments. The output from this preamplifier is then connected to the input of a power amplifier, which powers the loudspeakers. Performing musicians that use the "two-stage" approach (as opposed to an amplifier with an integrated preamplifier and power amplifier) often want to custom-design a combination of equipment that best suits their musical or technical needs, and gives them more tonal and technical options. Some musicians require preamps that include specific features. Acoustic performers sometimes require preamps with "notch" filters (to prevent feedback), reverb, an XLR DI output, or parametric equalization. Hard rock, metal, or punk performers may desire a preamplifier with a range of distortion effects. As well, some musicians have specific power amplifier requirements, such as low-noise design, very high wattage, the inclusion of limiter features to prevent distortion and speaker damage, or biamp-capable operation. With the "two-stage" approach, the preamplifier and power amplifier are often mounted together in a rack case. This case may be either free-standing or placed on top of a loudspeaker cabinet. If many rack-mounted effects are used, the rack may be a large unit on wheels. Some touring players need several racks of effects units to reproduce on stage the sounds they have produced in the studio. At the other extreme, if a small rack case containing both preamp and power amp is placed on top of a guitar speaker cabinet, the distinction between a rack and a traditional amp head begins to blur. Another variation is to combine the power amplifier into the speaker cabinet, an arrangement called a powered speaker, and use these with a separate preamp, sometimes combined into an effects pedal board or floor preamp/processor. Preamplifiers are also used to connect very low-output or high-impedance instruments to instrument amplifiers. When piezoelectric transducers are used on upright bass or other acoustic instruments, the signal coming directly from the transducer is often too weak and it does not have the correct impedance for direct connection to an instrument amplifier. Small, battery-powered preamps are often used with acoustic instruments to resolve these problems. [edit]Distortion, power, and volume [edit]Power output For electric guitar amplifiers, there is often a distinction between "practice" or "recording studio" guitar amps, which tend to have output power ratings of 20 watts down to a small fraction of a watt, and "performance" amps, which are generally 50 watts or higher. Traditionally, these have been fixed-power amplifiers, with a few models having a half-power switch to slightly reduce the listening volume while preserving power-tube distortion. The relationship between perceived volume and power output is not immediately obvious. A 5-watt amplifier is perceived to be half as loud as a 50-watt amplifier (a tenfold increase in power), and a half-watt amplifier is a quarter as loud as a 50-watt amp. Doubling the power of an amplifier results in a "just noticeable" increase in volume, so a 100-watt amplifier is held to be only just noticeably louder than a 50-watt amplifier. Such generalizations are also subject to the human ear's tendency to behave as a natural compressor at high volumes. Power attenuation can be used with either low-power or high-power amplifiers, resulting in variable-power amplifiers. A high-power amplifier with power attenuation can produce power-tube distortion through a wide range of listening volumes. Speaker efficiency is also a major factor affecting a tube amplifier's maximum volume. For bass instruments, higher-power amplifiers are needed to reproduce low-frequency sounds. While an electric guitarist would be able to play at a small club with a 50-watt amplifier, a bass player performing in the same venue would probably need an amplifier with 200 or more watts. [edit]Distortion and volume Distortion is a feature available on many guitar amplifiers that is not typically found on keyboard or bass guitar amplifiers. Tube guitar amplifiers can produce distortion through pre-distortion equalization, preamp tube distortion, post-distortion EQ, power-tube distortion, tube rectifier compression, output transformer distortion, guitar speaker distortion, and guitar speaker and cabinet frequency response. Distortion sound or "texture" from guitar amplifiers is further shaped or processed through the frequency response and distortion factors in the microphones (their response, placement, and multi-microphone comb filtering effects), microphone preamps, mixer channel equalization, and compression. Additionally, the basic sound produced by the guitar amplifier can be changed and shaped by adding distortion and/or equalization effect pedals before the amp's input jack, in the effects loop just before the tube power amp, or after the power tubes. [edit]Power-tube distortion Power-tube distortion is required for amp sounds in some genres. In a standard master-volume guitar amp, as the amp's final or master volume is increased beyond the full power of the amplifier, power tube distortion is produced. The "power soak" approach places the attenuation between the power tubes and the guitar speaker. In the re-amped or "dummy load" approach, the tube power amp drives a mostly resistive dummy load while an additional low power amp drives the guitar speaker. In the isolation box approach, the guitar amplifier is used with a guitar speaker in a separate cabinet. A soundproofed isolation cabinet, isolation box, isolation booth, or isolation room can be used. [edit]Volume controls A variety of labels are used for level attenuation potentiometers in a guitar amplifier and other guitar equipment. Electric guitars and basses have a volume control to attenuate whichever pickup is selected. There may be two volume controls in parallel to mix the signal levels from the neck and bridge pickups. Rolling back the guitar's volume control also changes the pickup's equalization or frequency response, which can provide pre-distortion equalization. The simplest guitar amplifiers have only a volume control. Most have at least a gain control and a master volume control. The gain control is equivalent to the distortion control on a distortion pedal, and similarly may have a side-effect of changing the proportion of bass and treble sent to the next stage. A simple amplifier's tone controls typically include passive bass and treble controls. In some cases, a midrange control is provided. The amplifier's master volume control restricts the amount of signal permitted through to the driver stage and the power amplifier. When using a power attenuator with a tube amplifier, the master volume no longer acts as the master volume control. Instead, the power attenuator's attenuation control controls the power delivered to the speaker, and the amplifier's master volume control determines the amount of power-tube distortion. Power-supply based power reduction is controlled by a knob on the tube power amp, variously labeled "Wattage", "Power", "Scale", "Power Scale", or "Power Dampening". [edit]Use with other instruments Musicians often run sound-sources other than guitars through guitar amps. For live performances, synthesizers and drum machines or keyboards are often put through guitar amps to create a richer sound than can be obtained by patching the direct-outs right into the PA system. Guitar amplifiers can add tonal coloration, roll off unwanted high frequencies, and add overdrive or distortion. Deep Purple's Jon Lord played his Hammond Organ through a distorted Marshall amp to create a sound more suitable for heavy rock. String instruments and vocals are also put through guitar amps to add distortion effects. Some blues harp players also use guitar or bass amps to create a warmer overdrive sound for their harmonica playing; 1950s-style "tweed" amps are often used for this purpose, such as Fender Bassman combo amps. Recording engineers occasionally run pre-recorded parts through miked guitar amps, a process called re-amping. When a guitar part is recorded "dry" (e.g., without effects or distortion), straight into the mixing board for a recording, this gives the producer and mixing engineer much more flexibility to create new re-mixes or new tones from the recording. If a guitar player records an electric guitar part that is run through a chorus pedal and a distortion pedal, there is little that can be done at the "mix-down" stage to change the sound of this recording, beyond "tweaking" the equalization and modifying the level. Since re-mixing or mixdown can take place weeks, months, or even years after the original recording session, it may be impossible to have the guitarist come in to re-record a new part. If the dry guitar sound is recorded, though, the mixing engineers can add any effects they want to the signal and then re-play it through a miked guitar amplifier which is being recorded. The effects, amplifiers, cabinets, and miking processes can be changed to any combination. When a dry guitar has been recorded, it can be a useful tool for "updating" an older recording. For example, if a band wants to re-release a 1980s-era album on which the guitar has a very dated 1980s sound, with heavy flanging and artificial-sounding electronic distortion, the band can update the guitar sound by re-amping the dry signal and using 2000s-era effects. Mixing guitar amp signals with other signals is also done by some musicians. Chris Squire of Yes produced his bass guitar sound by playing through a guitar amplifier with its bass turned down, treble turned up, and volume turned up well into distortion; the miked guitar speaker signal was then mixed with a direct-input (DI) signal, a technique that has been used for processing synth keyboards as well. A bass guitar can also be played through a bass amp in parallel with a distorted guitar amp by using a DI box; the bass amp provides the low frequencies, while the guitar amp - which is not capable of reproducing the lowest frequencies of the bass guitar- emphasizes the upper harmonics of the instrument's tone. [edit]See also List of guitar amplifier manufacturers Power attenuator (guitar) Instrument amplifier Bass instrument amplification Electronic amplifier Valve sound Guitar effects Guitar speaker cabinet Re-amp [edit]References ^ Note: This style of amplifiers should not be confused with the brand of guitar and bass amplifiers called Acoustic, still available in second-hand music stores.) ^ Golijan, Rosa (22 September 2010). "The Concert Speakers Are A Lie". Gizmodo. Retrieved 16 January 2011. [edit]Further reading Weber, Gerald, "A Desktop Reference of Hip Vintage Guitar Amps", Hal Leonard Corporation, 1994. ISBN 0964106000 [edit]External links Wikimedia Commons has media related to: Guitar Wikibooks has a book on the topic of Guitar/Buying an amplifier Guitar portal Duncan's amp pages - All sorts of information, especially on tube guitar amplifiers. AX84 - Learn to build your own tube guitar amplifier with free schematics and plans. Amplified Parts Tech Corner - Technical resources and diagrams for modifying and repairing guitar amps Photos of Vintage Tube Guitar Amplifiers Rebuilding a Fender Deluxe Reverb Tube Amplifier - Information on modification and conversion of amplifiers [show]v · d · eGuitars [show]v · d · eMusic technology