Comparison BOSS Katana-50MKII vs VOX Cambridge 50

The type of device is determined by the element base — the main type of parts on which the power amplifier circuits are built. Accordingly, this parameter is relevant only for equipment with such amplifiers; for cabinets (see "Type") it is not indicated.

The most popular nowadays continue to use traditional types of amplifiers — transistor and tube. Digital models are noticeably less popular, and hybrid solutions are rare at all. Here is a detailed description of each of these options:

— Transistor. Amplifiers of this type are relatively simple and inexpensive, while being able to provide quite acceptable sound quality (although, of course, everything depends on the class). It is the “transitor” that is recommended for beginner guitarists as the first “combo”, although there are quite advanced models among such devices. Of the unequivocal advantages of transistor circuits, one can name the durability of the components and the ability to easily transfer frequent carrying from place to place. As for the sound, in such devices it turns out to be more “dry”, “flat” and “cold” than in tube models, which many consider to be a clear disadvantage. At the same time, in the case of electric guitars, even this is quite enough for initial training, rehearsals and not very “fancy” performances; in addition, some transistor ampl...ifiers use specific signal processing to give the sound a tube-like sound. And combo amplifiers for acoustic guitars are overwhelmingly made with transistors.

— Lamp. Historically, the first type of amplifier, which, nevertheless, is still considered almost the standard when it comes to electric guitar (tube circuits are practically not used for acoustic guitars). The main advantage of such devices is the notorious “warm tube sound”, a characteristic soft, warm and at the same time rich coloring of the sound. At the same time, we note that the level of distortion in tube circuits is higher than in transistor circuits, however, these distortions are more pleasant to the ear, in many respects they provide the mentioned coloring. The widespread use of tube amplifiers is hindered primarily by their high cost — several times higher than that of transistor amplifiers with similar characteristics. In addition, among the disadvantages of such devices, it is worth noting the delicacy (the lamps do not tolerate shocks and shocks), the rapid wear of the lamps and the need for their regular replacement, as well as the need for warming up after switching on. However, professional musicians prefer to use mainly tube devices.

— Digital. Chip-based amplifiers using digital audio processing. The main advantage of such devices is the extensive possibilities for modeling sound and providing various effects. In particular, there are many models that copy tube amplifiers: the imitation is very reliable, and sometimes almost indistinguishable from the original. At the same time, digital models are devoid of many of the shortcomings of lamp technology: they are simpler, cheaper, more durable and more resistant to shock and shock. At the same time, digital processing is considered to take away personality from the sound, and many high-end audio enthusiasts are suspicious of digital solutions.

— Hybrid. Hybrid devices are devices that combine transistor and lamp circuits; usually a preamplifier is made with a tube, and a power amplifier is made with a transistor. In fact, this is a compromise between purely tube and purely transistor models, which allows you to combine the advantages and partially compensate for the shortcomings. Thus, hybrid solutions are noticeably cheaper than lamp solutions, they are lighter, more compact, less delicate and have fewer lamps that require regular replacement. And the sound at the same time turns out to be softer, cleaner and “warmer” than that of transistor analogs. At the same time, not many musicians choose such a compromise: those who strive for the highest quality and reliable sound prefer to spend money on tube equipment, and undemanding users (such as amateurs and beginner guitarists) are quite satisfied with transistor models. Therefore, there are relatively few hybrid models on the market.

The impedance of the speaker(s) installed in the amplifier.

Impedance is the resistance to alternating current — that is, the current flowing when an audio signal is applied. This impedance affects the compatibility of the speaker with the power amplifier: if the impedance is too low, sound distortion occurs, if the impedance is too high, the volume is reduced. However, in combo amplifiers, this parameter is most often given as a purely reference: such devices have their own power amplifier, which, by definition, is designed for the impedance of the “native” speaker, and separately, with extraneous components, the speaker and amplifier are not used.

The number of channels provided in a combo amplifier or a separate “head” (see “Type”).

This parameter is specified only if the device has more than one channel. The channel in this case can be described as a kind of “path” for the audio signal, which has its own specific set of settings. If there are several such “paths,” then each of them can be configured at your discretion and you can switch between sound options with just one click of a button (in extreme cases, by switching the instrument to another input). The most typical example of using this function looks like this: one channel is used for clean sound, and the second is used for “overdrive” using the built-in distortion or overdrive (see “Effects”). Without channel separation, the sound would have to be changed either by reconfiguring the amplifier (setting the parameters again each time, which is simply inconvenient), or by using external “gadgets” (and this is not always the best option for a number of other reasons).

As for the number of channels, in multi-channel models there are most often just two of them - this gives the mentioned additional capabilities and at the same time does not particularly affect the cost of the device. This option is optimal for beginning musicians, but is also found in professional equipment. Increasing the number of channels makes it possible to provide more advanced options for preset settings (for example, “clean ringing”..., “clean warm”, “Crunch” and “Overdrive”), but it significantly complicates and increases the cost of the design. Therefore, the higher this number, the fewer models with such characteristics are presented on the market. The maximum value found in modern guitar amplifiers is 6; a similar amount can be found in individual professional models, mainly with a digital element base (see “Type”).

Type of equalizer provided in the device design

An equalizer allows you to change the volume of a separate part of the sound range (frequency band), thus changing the color of the entire sound. This is one of the most important functions related to audio settings; therefore, it can be provided directly in the guitar amplifiers themselves. And the type of equalizer is indicated by the number of bands available for adjustment.

The more of these bands, the more accurately you can adjust the sound, but the more complex and expensive the equipment becomes. In light of this, the simplest option involves only 2 bands - low and high frequencies; Often such an equalizer looks like two separate knobs for adjusting the bass and treble levels. At the same time, we note that similar functionality can be found in both budget and high-end guitar amplifiers: in the second case, it is assumed that if finer adjustments are needed, you can use external equipment. However, three-band solutions (low, mid and high frequencies) are the most popular these days: such an equalizer provides quite extensive possibilities for adjusting the sound and is relatively inexpensive (and if finer adjustments are required, you can use external equipment). 4-band equalizers are noticeably less common, but are also quite popular (including in inexpensive devices); and some models provide...5 or more (up to 12) adjustment bands.

Built-in effects provided in the combo amplifier. You can also achieve various effects with the help of external “gadgets”, however, such gadgets need to be searched for and connected separately, while built-in effects are available immediately and without unnecessary settings.

— Overdrive. Distortion in the form of a characteristic electric guitar "buzz" at low frequencies and "howl" at high frequencies, a little softer than distortion. Popular, in particular, in hard rock.

— Distortion. Sufficiently hard and sharp distortion, similar in sound to overdrive, but more intense and brighter. It is widely used in various styles of metal, and is also found in rock.

— Reverb. An effect based on simulating multiple decaying echoes from each sound. Depending on the duration and intensity of repetitions, it can give the sound a different colour. Used as an artistic device; among other things, it can create the effect that the guitar sounds in a certain room (concert hall, room with stone walls, an open area in the mountains, etc.). Note that the reverberation can be adjusted both by individual parameters (intensity, echo duration, etc.), and by selecting a preset set of parameters (for example, “sharp sound in the room” or “soft sound in the hall”).

— Tremolo. Tremolo is basically a trembling effect that res...ults from small and quick fluctuations in the volume of each note. Sometimes this term means vibrato (see below) — to the point that the manufacturers of guitar amplifiers themselves mean the effect of vibrato by the tremolo effect, and vice versa. So the specifics of this effect in each case should be clarified separately. Anyway, the tremolo can be "fixed" or adjustable in depth (range of volume change) and speed (jitter frequency).

— Vibrato. Another effect of "jerking" sound, which is often confused with tremolo (see above) — to the point that both these terms are used as identical. However, this is not true; the difference lies in the fact that vibrato is carried out due to the rapid fluctuations of the note not in volume, but in frequency. A similar effect can be achieved on the guitar itself by "pulsating" the strings, but using the amplifier's built-in instrument is much more convenient in most cases.

— Chorus. An effect designed to simulate the choral sound of an instrument. To do this, the amplifier copies the sound of the guitar and plays several copies simultaneously with the original signal, slightly shifting them in time (about 20 – 30 ms with a constant change) and frequency. However it is impossible to achieve a full-fledged choral sound in this way, but the effect is quite original in itself.

— Delay. A specific type of reverb (see "Reverb") that has become widespread as a separate effect. Delay simulates a clear single echo from the sound being played; for this, the original signal is copied and reproduced with a certain time delay (at least 50 ms).

In addition to those described above, other effects can be found in modern guitar combo amplifiers, in particular:

— Flanger. The effect is reminiscent of the whistle of a jet engine; it is often compared to a plane taking off. It is created similarly to the Chorus described above, differs from it in a shorter delay time and the presence of feedback.

— echo. Another kind of reverb, similar to delay (see “Delay”). It differs in that in this case the echo is reproduced repeatedly.

— Octaver. An effect in which a copy of it is added to the signal, shifted by an octave or two.

— Wah wah. An effect that produces a characteristic "croak" sound.

The type of headphone output provided in the design of the amplifier.

Headphones will be useful especially in a situation where you can not make noise — for example, when practicing the guitar at a late time. And the options for their connection can be as follows:

— Mini-Jack (3.5 mm). Output for a standard 3.5 mm mini-Jack plug. This plug is equipped with most modern headphones, especially entry-level and mid-range. However, in terms of the quality and reliability of the connection, it is noticeably inferior to the larger Jack 6.35 mm (see below), so it is relatively rare in combo amplifiers.

— Jack (6.35 mm). The connector is quite large, designed mainly for stationary audio equipment. As the main connection method, it is rarely found among headphones, these are mainly professional models. At the same time, you can connect headphones with a 3.5 mm mini-Jack connector to such a jack using a simple adapter (in many “ears” such adapters are even included in the standard package); and the connection itself is tight, reliable and with a minimum of interference from the point of contact. Due to this, most "amps" use this type of connector.

The type of line output provided in the design of the combo amplifier.

This output, as the name suggests, provides a line-level analogue audio signal. In this case, unlike the preamplifier output (see above), the signal level at the line output is not adjustable. This interface is mainly used to connect recording devices, although it can also be used to output a signal to an external amplifier (in fact, in the absence of a Pre-Amp output, the only option for such a connection is a line input). And the types of connectors used for the line output can be as follows:

— Mini-Jack (3.5 mm). The classic "minijack" is small in size, but inferior to larger connectors in terms of reliability and connection quality; compactness in the case of combo amplifiers most often does not play a decisive role. That is why such exits are extremely rare, mainly in the most compact “amps”.

— Jack (6.35 mm). Connector, quite popular in stationary audio equipment, including pretty advanced. Theoretically, it can even provide a balanced connection (see below), but this feature is far from mandatory, its presence should be specified separately. Also note that a 3.5 mm mini-Jack plug can also be connected to such a jack using a simple adapter.

— Balanced XLR. The XLR output is a characteristic round three-pin connector with a balanced connection type. With this connection, the signal is transmitted over thre...e wires instead of two, and in a special way, due to which the interference induced on the wire is extinguished. This allows even fairly long cables to be used without sacrificing signal purity, making this type of connection suitable even for professional audio equipment. Actually, XLR is also considered a professional interface — both because of the ability to work with a balanced signal, and because of the rather large dimensions and increased reliability (connectors are often equipped with locks for fixing plugs).

— Jack/XLR. Usually, in this case, a combined connector is meant, combining a 6.35 mm Jack and XLR. On the features of both, see above; and the combo jack looks like an XLR jack, complete with a hole for a Jack plug in the centre.

Jack/RCA. The presence in the device of two linear outputs at once, with different types of connectors. See above for more details on the Jack interface. And RCA is a connector for a coaxial cable with a “tulip” plug; this is one of the most popular interfaces in entry-level and mid-range stationary audio equipment, but it is relatively rare in guitar amplifiers.

— Corporate. A proprietary connector that does not belong to any generally accepted standard. It is mainly used to connect equipment of the same brand as the combo.