We live in a world where amp modeling is having its moment in the spotlight, and traditional tube amplifier sales have dropped dramatically. According to Reverb, last year there wasn’t a single tube amp in the top 10, with floor units and modeling amps taking all the top spots. I love my tube amp, though, and for me, the best tube amps still have a place in the modern world.
No amp modeler would exist without all the classic tube amps that came before it, and if you have the right circumstances to get the real thing, why wouldn’t you? Many modern tube amps offer plenty of flexibility with power attenuation, simulated cabinet outputs, and most importantly, that awesome sound and volume you can only get from pushing air. I’ve personally tested all of the amps in this guide so that you can rely on the recommendations here.
If you can afford it, the Mesa/Boogie Mark VII 1x12 Combo is without a doubt the most comprehensive tube amp available right now. It’s jam-packed full of modern features, and its 3-channel operation makes it incredibly versatile. It’s really expensive though, so if you want that proper tube amp experience without having to spend over a grand, have a look at the Fender Blues Junior IV, which is super value for money.
If you’re here looking for your first tube amp, I’ve got over 20 years of experience using them, so I’ve included a how to choose section to help guide you through the buying process. I’ve also put together a comprehensive FAQ based on all the common questions I get asked around tube amps, and a glossary of key terms to help you break down that tube amp-specific terminology.
Best overall
🔊 If you want the ultimate tube amp that can cover any sound and have a big budget, this is the only tube amp you’ll ever need.
✅ Buy if you love to tone tweak: With the amount of options here, this is an amp for those who love diving into the nitty-gritty, turning knobs, and experimenting with tones.
❌ Avoid if you’re sick of heavy combo amps: Despite its relatively small size, this tube amp is the heaviest out of all the ones I tested. Lifting it into your car requires some serious effort!
Overview
The Mesa/Boogie Mark VII 1x12 Combo is Mesa’s magnum opus, the culmination of years of development that results in the most complete tube amp I’ve ever tested. It’s jam-packed full of features, from 3-channel operation to simulated outputs, a genuine spring reverb tank, and an excellent footswitch to control everything.
Build quality
When you first look at the Mark VII combo amp, it appears relatively compact, but it’s deceptively heavy. Weighing in at 58 lbs, I definitely felt it in my lower back when I was lifting it out of the box, and similarly when I had to put it in my car to take it to a recording session. It’s incredibly solid, though, with a Baltic birch cabinet that’s very well put together, and a black tolex that feels similarly rugged. It also comes with a decent Mesa amp cover to keep it in good condition when gigging.
Usability
It takes a bit of time to get used to the Mesa Mark VII, simply because there are so many different options to play with. Each channel has three modes of operation, three attenuation options, the ability to add extra EQ boosts and cuts on select frequencies, and dial in reverb, all independently of one another. Add in the ability to bring the effects loop in and out of each channel, and you’ve got a huge array of choices.
Having a built-in silent practice option is a huge win for any tube amp lover, and you can run it via an XLR or 1/4-inch jack into an audio interface, or just plug a pair of headphones in, giving you all those glorious Mesa tones with a simulated cabinet. I really love that the reverb is per channel as well, so you can pile it on the clean stuff, but back it up when you switch to the high gain channel.
The included footswitch makes operating the amp incredibly simple, allowing you to switch channels, add in the additional EQ, turn the loop on and off, and do the same with the reverb. It connects via MIDI and comes with a really long cable, which is useful if you want to use it live or incorporate it into a permanent studio setup.
Sounds
If there’s a sound you can imagine, this amp can do it. Channel 1 has three modes with a glassy, Fender-style clean tone, as well as a fatter clean and a crunch tone, which pays homage to the roots of the Mesa sound, based around hot-rodded Princeton amps. Channel 2 is your port of call for those classic rock crunch tones, and again features three modes with a fat, crunch, and MKVII modes.
Channel 3 delivers those classic Mesa high-gain tones, with a MKIIB, the highly sought-after IIC+, and a MKIV mode. It’s perfect for saturated lead work and chugging metal rhythms, the complete opposite end of the scale that channel 1 offers. With such versatility, there are few sounds this amp can’t do, and the ability to bring in the additional EQ section means you can use it as a boost for leads or just a different tonal option.
Best budget
🔊 If you want a tube amp but don’t have thousands to spend, this Fender combo gets you most of the way there. It’s also a great value option for gigging guitar players.
✅ Buy if you don’t want to spend loads: Coming in well south of the $1,000 mark, this is a great tube amp for those who want classic tones on a budget.
❌ Avoid if you need modern features: The Junior IV is showing its age a bit; there are no effects loop or attenuation options here.
Overview
Budget is a relative term when it comes to tube amps, as there aren’t very many tube amps that can deliver a big enough sound for gigging and rehearsal while remaining below the $1,000 mark. For me, the Fender Blues Junior IV has the ideal balance of classic tube tone, while remaining affordable enough that most guitarists could get one. There’s a reason it’s one of the most popular Fender amps ever made.
Build quality
The Blues Junior IV is a well-built amp, and you can tell that from the moment you pull it out of the box. It’s not obscenely heavy at 31.5 lbs, which makes it pretty easy to carry to the car for shows or just move around the house if need be. It’s got a well-made carry handle that feels very robust indeed, and it’s comfortable enough to carry up flights of stairs when loading into a show.
Usability
This is a very simple amp, which harks back to the good old days when modeling was something really good-looking people did. The controls are very straightforward (and they face you if you lean over the front of the amp) with just six knobs and a ‘FAT’ switch to play with. There’s a master volume so you can balance getting the right amount of gain without having to crank it to the maximum, and the three-band EQ will be familiar to most guitarists.
There’s no effects loop, so look away if you want one of those. It’s just a single channel too, but you’ve got a little extra flexibility with the foot switchable ‘FAT’ switch, which enables you to instantly boost the midrange of the amplifier. It’s what makes the Blues Junior IV so popular: just plug in, twizzle the knobs, and get great tube tones.
Sounds
This amp is amongst the cheapest ways to get classic Fender clean tones without having to spend a couple of grand for the privilege, and it’s lovely, glassy cleans with the preamp volume set relatively low. You can jump this up and use your volume control on your guitar to clean it up, too, offering a bit more of a two-channel style operation. The tube breakup is fantastic if you do want to put some hair on it, delivering a warm overdrive sound that’s incredibly satisfying.
It takes pedals well too, dealing very well with overdrive, fuzz, reverbs, and delays all at the same time. Due to its size and wattage, you can push it too hard, but that’s only if you’re very extreme with what you put in front of it. Although it’s technically low wattage, I wouldn’t recommend it for home use; it’s just way too loud even at lower volumes, unless you’re living in a purely detached house and have very forgiving family members and neighbors.
Connor is a contributor to Guitar Player. Having been a guitarist since the age of 10, he's played bass and guitar in bands across the South West of England. He has a background in audio engineering, having worked in some of the UK’s best studios, including Rockfield and Invada, and has a passion for recording guitar. He is always keen to discover the greatest gear for capturing tone, be that microphones, audio interfaces, or cab simulators.
Best for home
🔊 If you absolutely must play a tube at home, then this is as good as it gets when it comes to low-volume performance.
✅ Buy if you want tube tones at a reasonable volume: The 0.1 Watt mode on the DSL1CR is perfect for getting saturated tube tones at home.
❌ Avoid if you’re gigging: This amp sounds a little boxy and lacks low end due to the size, so I’d go for something bigger if you’re regularly gigging.
Overview
I’m a big fan of the Marshall DSL1CR, and if you want to use a tube amp at home, it’s one of the best options out there. The two-channel operation makes it surprisingly versatile; it’s got a built-in reverb and a silent recording or practice option, all of which make it a great little tube amp for players who can’t turn up the volume.
Build quality
It’s a Marshall amp through and through when you look at it, from the classic gold face to the rugged black tolex with white piping. It’s an easy one-hand carry thanks to the 17 lbs weight, and it looks like a practice amp due to its size. If you wanted to, you could easily use it as a desktop guitar amp, and it’ll fit pretty much anywhere, even in a very busy home.
Usability
The DSL1CR is super simple to use, but it has a bit of depth too. The two channels can be switched via the included footswitch or the button on the amp front, with channel one having its own volume control while channel two has separate gain and volume controls. The three-band EQ is shared between the two channels, as is the onboard digital reverb, so it is lacking a little flexibility there.
I found myself wishing the reverb were independent on each channel, but then this is a small, cheap tube amp, so I can’t be too unforgiving here. The tone shift button allows for an instant scooping of the mids, and on the back, there’s a switch for the lower power mode, which moves between 1W and 0.1W, as well as the emulated output, which you can plug into an interface or headphones, and an aux in should you wish to jam along to some backing tracks.
Sounds
The cleans on this amp sound really good, and adding some of the reverb into the mix can make for a very spacious sound. Bringing up the volume adds a bit of grit, giving you a nice crunchy tone that you can keep controlled with the master volume. The ultra-gain channel does what it says on the tin, offering some superb saturated guitar tones. Pair it with the tone shift button, and you can absolutely get a metal guitar sound out of this amp.
The 1W mode was too loud for home use in my testing, though, which tells you something about the power and volume of tube amps. On the 0.1W mode, I was able to practice sans any complaints from my partner, and feel like I wasn’t annoying the neighbors too much. It’s nice having the option to get loud if you want, but admittedly, it can get a bit boxy-sounding here, so I’d probably look for a bigger speaker rather than gigging it.
Ross has been a music lover and guitar player since the age of 8. He has spent the five years since graduating from university working in music retail, selling guitars, amps and more. Ross is particularly interested in electric guitars, pedals and amplifiers and his current rig includes a trusty 2009 American Standard Stratocaster and Vox AC30S1 with a few Walrus Audio and Way Huge pedals in between. He currently writes for Guitar Player and Guitar World.
Best for gigging
🔊 For the majority of gigging players, the compact build and excellent qualities as a pedal platform will make the Princeton Reverb the ideal companion.
✅ Buy if you want a tube amp well suited to regular gigging: As well as being a great pedal platform, the Princeton Reverb is very portable thanks to its small size and relatively light weight.
❌ Avoid if you use an FX loop: There’s no effects loop available with this amp, so avoid if you have a mega pedalboard with a complex signal chain.
Overview
The Fender 64 Custom Princeton Reverb is a reissue of one of the most popular amps of all time. It’s loved for a variety of reasons, from its relative light weight to the ability to get tube overdrive at lower volumes. That makes it a great option for the regularly gigging guitarist, as well as those who are frequently in the recording studio.
Build quality
Having tested so many amps for this guide, it was an absolute delight to get my hands on the 64 Princeton Reverb, and my back was thanking me when I pulled it out of the box. It’s surprisingly lightweight, especially versus something like the Mesa/Boogie, coming in at just 34 lbs (15.4 kg). It’s very well put together, though, with a birch cabinet covered in a black textured vinyl, and that classic silver front grille you expect to see on a Fender amp.
Usability
It’s also one of the simplest amps I tested. With just a single channel and six knobs, it doesn’t take long to wrap your head around it. Input 1 is high sensitivity for single coil or lower output humbuckers, while input 2 reduces the gain by -6dB, ideal for high output humbuckers or guitars with active pickups. You can plug two guitars into it, which reduces the gain for both, but it’s not really usable for anything other than messing around.
It’s got a tube-driven spring reverb with a physical tank that contains four springs, and the tremolo is also tube driven for those classic Fender tones. The reverb has a dedicated level knob, and the tremolo side has speed and intensity controls so you can dial it in to taste. There’s no mid control here, but then that’s the classic scooped sound of a Fender tube amp.
Sounds
The sounds you can get plugged straight into this amp are just gorgeous. It’s easy to tell why it’s been such a popular choice over the years, and the clean tones are bright and bell-like, delivering supreme clarity. Add in some spring reverb and tremolo, and you can get that lovely drip that reacts to your picking dynamics, delivering everything from surf rock sounds to blues to post-rock ambience.
Dial up the volume, and there’s a lovely driven tube tone that’s great for lead work and classic rock riffs. It’s not enough for anything heavier than that, but you can get those sounds by putting pedals in front of it, which it takes extremely well. It can get pretty loud when you start stacking pedals in front of it, with plenty of volume for gigging, and no matter what I threw at it, it handled itself with aplomb.
Best for metal
🔊 If you want a tube amp for playing metal, the EVH 5150III 6L6 remains one of the most popular options out there
✅ Buy if you want to play heavy music: This tube amp head has been used on countless heavy records and live performances.
❌ Avoid if you want complete control: Channels 1 and 2 share EQ controls, which might put certain tone tweakers off.
Overview
There are few amps more ubiquitous in the world of metal than the EVH 5150III 6L6. In the early 90s, Eddie Van Halen teamed up with Peavey to create his ideal amplifier, the Peavey 5150, but when Eddie decided to leave in the early 00s, he owned the naming rights, whereas Peavey owned the circuit design. Teaming up with Fender, Eddie wanted to rebuild his amp but improve on the areas where he felt the Peavey was lacking, particularly on the clean channel. Thus, we now have the EVH 5150 while the original Peavey model got the moniker 6506.
Build quality
The EVH 5150III is as robust as it gets when it comes to tube amp heads. I’ve used one countless times in the studio, sometimes with it on its side to save space, and there’s a myriad of touring guitar players who use these live. It’s pretty heavy, not obscenely so like the Mesa in this guide, but heavy enough that you’ll feel it a little bit when carrying it up and down the stairs.
Usability
It’s a three-channel amp, which means plenty of versatility whether you want cleans, crunch, or high gain tones. Because it’s a smaller amp, channels 1 and 2 share the EQ controls, so I recommend dialing in your EQ on channel 2 because the clean channel is pretty bright. The gain and volume controls are thankfully separate on the latest version with stacked knobs, so you won’t get that crazy volume jump moving from clean to crunch as we saw on the V1 models.
On the back panel, you’ve got an effects loop for running your delays, reverbs, and modulations, a MIDI connection for syncing the amp up to a multi-effects pedal, and a very useful headphone out should you want to access 50 watts of metal tone without destroying your interpersonal relationships. The cabinet sim on the headphone out is fixed, so you can’t use 3rd party IRs. You can do this with the preamp out, running it into an audio interface and using whichever cabinet sim you like.
Sounds
I don’t think it’s hyperbole to say that the EVH 5150III is one of the best-sounding metal amps of all time. I’ve used it on many recordings, and it always delivers, whether I want a crunchy rock and roll sound or a massive metal guitar tone with a fat, but tight bottom end. I’ve used it with guitars tuned to standard and drop-tuned baritone guitars, and it responds equally well no matter where in the frequency spectrum your particular type of heavy lies.
While its high-gain section is really what this amp should be used for, the clean tones are actually pretty great too. It’s a bright, clean tone very reminiscent of those mid-scooped black-panel Fender amps, and as you might imagine, it responds really well to stacking pedals in front of it. Although it excels for metal, if you want an amp that can serve as a pedal platform, classic rock amp, high gain tone monster, and a great studio tool, the EVH 5150III is a brilliant bit of kit.
Best for recording
🔊 If you want a blank canvas to build your tones on for recording at home or in the studio, The Duchess delivers
✅ Buy if you want a flexible recording platform: The Duchess is a phenomenal pedal platform with a very powerful EQ for sculpting sounds.
❌ Avoid if you’re on a budget: This is not a cheap guitar amp at over the $3k mark, although you can buy the head for significantly less.
Overview
Over the past few years, the Victory V40 The Duchess has become something of a modern classic. While Victory is a relative newcomer compared to stalwarts of the guitar amp game like Fender, Marshall, Vox, and others, it’s no less deserving of a space in this guide alongside its better-known peers. For guitarists recording at home or in the studio, I can highly recommend the blank canvas that is The Duchess MKII Deluxe Combo.
Build quality
The solid pine cabinet is very robust, with a lovely cream finish that makes this amp seriously good-looking. You will need a cover to keep it clean if you’re gigging it, though. The leather corners on the edges of the amp help protect it from scrapes and knocks when carrying it up the stairs, and weighing in at just shy of 50 lbs, you will definitely feel the weight during load-in.
Usability
For me, the best feature of the V40 MKII Deluxe Combo is its power attenuator. Bringing the power down to 7 watts makes it much more usable at home, allowing you to achieve tube saturation without ear-splitting volume. It’s also got an incredibly flexible EQ section, with three voices, and three options for affecting the midrange alongside a traditional 3-band EQ. Add in a built-in reverb and tremolo section, and you’ve got pretty much everything you’ll need in the modern world of guitar playing.
The one thing I really didn’t like about it is the position of the connections on the back panel. I use the effects loop on both of my setups, and with the 1/4-inch jacks being placed underneath, they’re incredibly difficult to access when doing a quick setup at a gig. Victory isn’t the only amp manufacturer to do this, but on the head, the outputs are directly on the back panel, which makes it far easier to manage.
Sounds
I play in a couple of bands, and I found that when putting both my pedalboards through this amp, I needed minimal tweaking to make it work. Whether it was my experimental post-punk board with loads of stompboxes stacked, or my simple setup for playing metal with a baritone guitar, the V40 MKII reacted superbly to both. Normally, if I switch amps, I have to do a lot of tweaking to get the sound right, but here it was quick and easy to get up and running.
The low-end EQ has a lot of range, but the mid and highs are much tighter, which is part of what makes it so flexible. The midrange is still gutsy, though, and the top end is bright without getting into icepick territory. As the guitar lives in the midrange, the additional mid controls mean you can really dive into tone tweaking to perfect your sound. The different modes can smooth out the midrange or add more gain, and combined with the voice switch, you can get a lot of different sounds out of this guitar amp.
Spec comparison
If you're struggling to decide between our top picks, we've laid out all of the key specifications in one place for you to help you narrow down which is best for you.
Model | Power | Preamp tubes | Power tubes | Channels | Speaker | Weight |
|---|---|---|---|---|---|---|
Mesa/Boogie Mk VII Combo | 90W, 45W, 25W | 5 x Mesa 12AX7 | 4 x Mesa 6L6 (or EL34) | 3 | 1 x 12” Celestion Custom 90 ‘Black Shadow’ | 58 lbs, 26.31 kg |
Fender Blues Junior IV | 15W | 3x12AX7 | 2xEL84 | 1 | 1 x 12” Celestion A-Type | 31 lbs, 14 kg |
Marshall DSL1CR | 1W, 0.1W | 2 x 12AX7 | 1 x 12AU7 | 2 | 1 x 8" Celestion Eight 15 | 17 lbs, 7.7 kg |
Fender ’64 Custom Princeton Reverb | 12W | 3 x 12AX7, 1 x 12AT7 | 2 x 6V6 | 1 | 1 x 12” Jensen C10R with Ceramic Magnet | 32 lbs, 14.5 kg |
EVH 5150III 6L6 50W | 50W | 7 x 12AX7 | 2 x JJ 6L6 | 3 | N/A | 33 lbs, 15 kg |
Victory V40 "The Duchess" Deluxe MKII Combo | 40W, 7W | 2 x ECC83, 2 x ECC81 | 2 x 6L6 | 1 | 1 x 12", Celestion G12H-75 Creamback | 49 lbs, 22.3 kg |
Also consider
For me, the above tube amps should cover most guitarists' needs. Tone is a very personal thing, though, so if you didn't find what you were looking for, then here are some more great options to look into.
How to choose
The best tube amps can quite often be a significant investment, so it’s worth doing your research to make certain your pick is going to work for you. As with picking any guitar amplifier, the emphasis will be on sound, portability, usability, and connectivity.
1. Sound
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If you only ever play clean, then an amp with a great gain channel is probably wasted on you, and vice versa. Do you rely on effects pedals for your overdrive and distorted tones? If so, you'll need to know which amps meet your needs.
You'll then want to figure out the type of amp sound you want, and which type of amp will suit your tone. USA-made amp brands like Fender and Mesa/Boogie will produce a different type of tone than British amps like a Marshall or Vox.
2. Head or combo?
One of the first things to decide upon when choosing the best tube amp is whether to opt for a combo or a head and cab. Combos are all-in-one units featuring the amp and speaker – everything you need to make a sound is in that product.
A head is only the amp part, so you’ll need an external speaker cabinet; whether that’s a single speaker, or something bigger with multiple speakers. Heads are often more compact and portable, but remember you’ll need a cab to run it through – many studios, rehearsal rooms and venues will have these in-house for you to use. Obviously, a combo is an all-in-one solution, but depending on its size, may be less convenient to get from A to B.
3. Are you gigging?
If you're going to be using your tube amp onstage, then you'll want to look for something with a good amount of power. That way, you’ll have no problems being heard.
Tube heads can be good if you play regular shows, as many venues will already have a cab, meaning you can turn up with just your guitar and your head - but the inconsistency of some venues' gear means that sometimes a tube combo can be the preferred option. Having your own amp and speaker in the same box means that your tone has the potential to be more consistent - and this can be a life-saver for us guitarists.
4. Can you use a tube amp for practice?
If you want a tube amp to use solely at home, then it’s best to get something with a lower wattage so that you can drive the tubes while keeping the volume at a steady level. Many modern tube amps now feature power reduction, which will enable you to run them at a higher wattage when you need the volume, then switch them down for home practice.
It's worth thinking about the physical space you want your practice amp to take up. Something like the Fender '64 Custom Princeton Reverb or the Blackstar HT-1R MKII is perfect for those with not much space - and as a rule, the smaller the wattage of a tube amp is the smaller the amp itself will be.
FAQs
How much power does my tube amp need?
The power of an amp is partly determined by its wattage. Picking the right wattage can really help you find the best tube amp for you. If you’re only playing at home, then it’s worth looking for something with a low wattage. This lets you run the amp with its volume knob cranked up more without the actual volume you hear being too loud. Doing so lets you push the tubes more for that organic breakup.
If you want to run an amp clean without it breaking up, then something higher power will likely have more clean headroom, so could work better for you. If you’ve got something super high power and you’re running it at bedroom levels, you might not get the most out of it, so finding that balance is key.
It’s also worth noting that some modern tube amps allow you to select the wattage, so you can run it at a lower setting when playing at home, and then higher when you need the volume.
How do tubes affect the tone of my tube amp?
Of course, the tone of a tube amp is important. If you want a similar sound to some of your favorite players, check out what sort of amps they use. Tube amps can sound quite different depending on the brand; for example, many Marshalls have an aggressive, mid-heavy sound that’s commonly associated with British artists, whereas Fender amps are often more present in the lows and highs, and represent more of an American sound.
How does a tube amp sound?
Tube amps from different sides of the pond tend to have differing tones. Fender amps are highly regarded for their clean tones whereas a Marshall excels at dirty sounds. Although it’s not an absolute rule, amps from America tend to have more treble clarity, whereas British amps sound a lot darker.
If you like to get the majority of your sound from pedals, then finding a tube amp with a great clean tone will be your best bet. If you’re not into pedals, then you’ll almost certainly need something like a gain channel to get those crunchy rhythm and lead tones.
How loud is a tube amp?
Volume is also something to think about. Even a 15-watt tube amp will be seriously loud and although you can get away with that for practicing at home, anything more than that will likely result in noise complaints!
The issue is tube amplifiers need to be turned up to sound their best, so you’ll always be at risk of irritating others when using one at home. Using them at lower volumes means you’re not getting the best of their tonal quality, negating the reason for having one in the first place.
Thankfully many modern tube amplifiers now feature power attenuation so you can harness the power of tube tone without blowing the cat away or completely ruining your already fragile relationship with your neighbors. The best thing is you can turn them right back up at rehearsal or at your next show, and still get the same great tone.
Are tube amps portable?
Tube amps are heavy, there’s no getting around that, unfortunately. Although there is the Blackstar St James amp series which is making strides in the right direction when it comes to weight saving, the majority of tube amps you come across will have some serious heft to them.
Smaller tube amps like the Supro Delta King can be a lot lighter though, so if this might be an issue for you don’t fear, there are still plenty of smaller combos available that will deliver that sought-after tone without the back-breaking weight.
How easy is it to use a tube amp?
Some tube amps have one channel, one tone knob, and an input. Just plug in, dial in a quick tone setting, and away you go. Others will have myriad channels, EQ knobs, and other options for sound sculpting. It’s up to you to decide whether you want an amp that you can just turn on and rock out with or something that will require time to find your desired guitar tone.
This can depend on whether you only play in a particular genre, or for example, you might use pedals to get the majority of your tones so just need a solid base to build upon. It’s a great question to ask before you commit to purchasing as it can save you money on your initial purchase to do away with features you don’t really need.
What connection options does a tube amp have?
Finally, we come to something that many guitar players overlook when purchasing new amps, the amount and type of connections on offer. If you’re running a load of time-based effects on your pedalboard, an FX loop will help declutter your sound by placing them after the preamp and before the power amp. A cab out for expanding your rig might be helpful if you’re looking to beef up your tone by adding some more speakers to your setup.
Many modern tube amps also come with direct outs for recording or sending to front of house. USB outs are featuring more and more too, giving you options to record your sound without having to crank the amplifier and mic it up. Features like these can be a lifesaver when inspiration strikes late at night, so be mindful of what your amp of choice features and ensure you get yourself exactly what you need.
Why is a tube amp louder than a modeling or solid-state amp?
The difference between a 15-watt tube amp and a 50-watt modeling amp is all in how we perceive volume. On paper, the modeling amp should be much louder, but in reality, a 15-watt tube amp will totally drown out a 50-watt modeling amp. This is because tube amps use soft clipping, adding even-order harmonics to the tone, which, to human ears, makes them sound louder and fatter than solid-state or modeling equivalents.
Can I run a tube amp head without a speaker?
You should never turn on a tube amp head without a cabinet or load box attached to it. Doing so can completely destroy your amp. Some amp heads, like the EVH 5150III in this guide, have a headphone output that mutes the internal power amp. If you want to try to use your tube amp without a speaker, then make sure you check out the manual first to see exactly what type of outputs it has.
Can I use a patch cable to connect my amp head and cabinet?
No, you should not do this. Patch cables are not designed to carry the huge current a tube amp sends to a speaker cable. Doing so can cause irreparable damage to your tube amp, so always make sure you’ve got a proper speaker cable to connect your amp and cabinet.
What does it mean to bias a tube amp?
Biasing sets the baseline voltage that runs through your amp's tubes to ensure they perform at their best. The only time you realistically need to worry about this is if you change the type of tubes in your amp. If you want to make sure your tube amp is performing at its best, then having a tech check your amp’s bias will ensure that you can replace old tubes when they’re past their best.
Key terms
- Active pickups: A type of guitar pickup that uses a 9V battery. Often significantly higher output than regular passive pickups, which can cause tube breakup earlier.
- Attenuation: A feature of modern tube amps that allows you to reduce the amount of power your amp outputs, while still getting the tube saturation that usually requires the volume to be cranked.
- Biasing: The process of ensuring the correct amount of voltage is flowing through the tubes in your amp so they perform at their best.
- Cabinet simulator: A tech that simulates the sound of a guitar cabinet through a microphone, allowing you to use your tube amp without the speaker.
- Clean headroom: This is how much volume an amp can output before distorting. Typically, the higher the wattage, the higher the headroom.
- Effects loop (FX loop): This is two jacks, usually on the back of the amp, that allow you to insert effects after the preamp section. Useful if you don’t want to distort your time-based effects like delay and reverb.
- Even order harmonics: A type of distortion that’s pleasing to the human ear, this is what people are describing when they say things like ‘tube warmth’, or ‘tube saturation’.
- High-gain: A type of amp that can produce heavily saturated and or compressed distortion. Often used by metal guitarists.
- Humbucker: A type of pickup that has two coils side by side, resulting in a fatter, midrange tone. Typically higher output than a single coil.
- Impedance: The electrical resistance between your guitar amp and its internal speaker or a speaker cabinet, measured in ohms. You need to make sure that the amp’s output ohms match those of the cabinet.
- Output transformer: A crucial component of tube amps that converts the voltage from the power tubes into something usable for the amp’s speaker.
- Pedal platform: A term used to refer to a guitar amp that provides a good base tone for using guitar pedals.
- Preamp tubes: Small vacuum tubes that shape the low-voltage signal from your guitar for initial gain, volume, and EQ shaping.
- Power amp tubes: Large vacuum tubes that take the preamp tones and convert them in order to drive a speaker.
- Scooped: A type of EQ where the mids are reduced.
- Single coil: A type of pickup that uses a single coil, resulting in a bright tone. Usually lower output than a humbucker.
- Tolex: The material glued or stapled to the exterior of a guitar amp’s wooden cabinet to protect it from scrapes and scuffs.
How we test
Guitar Player has been reviewing gear since 1967, and we’ve had more tube amps in our hands than we’d care to remember. Testing gear has been one of our staples for nearly 60 years, so it’s fair to say we know a great tube amp when we hear one. When testing tube amps, there are four key steps we take to ensure we get a great overall picture of what a particular amp's capabilities are.
First of all, we’ll look at the big picture. What is the history of the amp? Is it an iteration, and how does it compare to any previous models? Looking at the background of the amp is crucial to how we place it in the pantheon of great guitar amps, whether it’s an original design or something that emulates a particular tone. Having the context allows us to judge the amp fairly on its merits, rather than making inaccurate or unrealistic assumptions about it.
The first of our physical testing is the build quality. Here we’re looking at the overall construction of the amplifier. We’ll examine the cabinet in detail to ensure it’s well-made, check that any Tolex or covering has been applied correctly, and check out all of the knobs and switches to ensure they’re robust. If plausible, we’ll also examine the internal components of the guitar amp, checking to see how clean the wiring and soldering are, and how the amplifier is constructed.
Our next test is the usability of the amp in question. We’ll use the amp at home, in the rehearsal space, as a studio tool, and on occasions at gigs. This allows us to get a good measure of how the amp will work for our readers. We’ll try and test the amp for a minimum of two weeks, ideally longer, so we can get past the honeymoon phase and really see how it performs in the longer term.
The final, and most subjective test when it comes to guitar amps, is the sound quality. Here, our earlier investigations into the amp's history will help us shape our opinion. Is it a pedal platform or a high-gain metal amp? This prior understanding ensures we can test it in the correct way, without expecting something it’s not designed to be capable of. As we’ve tested so many tube amps over the years, we have a very attuned ear for guitar tone, but we always appreciate the difference between an objective view and our personal opinion.
Read more on how we test gear and services at Guitar Player.
Why trust us?
✅ A global audience of 2.3 million guitarists every month
✅ Thousands of reviews on GuitarPlayer.com
✅ Nearly 60 years of product testing
Guitar Player established its reputation as an authority by featuring groundbreaking interviews with players like Jimi Hendrix, Jeff Beck, Eric Clapton, Duane Allman, and other guitarists from the classic rock era. In 1978, the magazine helped usher in a new era of guitar pyrotechnics when it published the first in-depth interview with Eddie Van Halen. It would go on to help launch and further the solo career of Steve Vai, whose solo debut, "The Attitude Song," was featured on the magazine’s first flexi-disc Sound Sheet recording, which was bound into the October 1984 issue.
Today, Guitar Player continues in the tradition of its founders online at GuitarPlayer.com, where we provide exclusive in-depth interviews with your favorite guitar heroes, deep, instructive video lessons, and authoritative gear reviews. Whether you want to catch up on your favorite artist’s work, discover new playing techniques, or read honest, in-depth reviews that help you choose your next guitar, amp, pedal, or recording gear, Guitar Player delivers. And because we embrace rock, blues, fusion, jazz, metal, and world music, we are the first stop for guitarists whose interests run both wide and deep.
