You have set difficult parameters on this question. I favor tube amps over any solid state amp I have heard. If you include modeling amps, there are several possibilities that can get decent tone. If you add modeling pedals, more possibilities.
For non modeling solid state amps, it is more difficult. 15 years ago I had a Crate 15 watt practice amp without effects that could sound decent. It had an 8" speaker and a speaker out jack. I have a Peavey Studio Pro 40 amp that can sound OK, but not really good.
I currently use a solid state amp when I might sit in with a band, and don't want to drag around my tube amps on the chance of sitting in. It is the Electro-Harmonix 44 Magnum played into a 10" Lil' Buddy using my Shure Unisphere 585AV mic. I lay the speaker back tilted up about 4", and I bounce the sound off the ceiling to avoid beaming at someone in the audience. I have used it sitting in several times with Kilborn Alley, and with other amplified bands.
They thought it was a joke when they first saw it, and said that I needed to mic it, until after they heard it. The Lil' Buddy helps a lot with the tone, and the EH 44 Magnum has smooth distortion when taken past 12 O'clock and set at around 2 O'clock. The 585SAV mic is feedback resistant and has good lows. The EH 44 Magnum gets pretty decent tone when pushed, and is LOUD. I turn down the brightness switch. Sometimes I use eq or delay, but usually just the mic/amp/speaker. At lower volume it is OK, but sounds like clean dark toned harp. It sounds best when played loud.
forgive the vocals i never sing in public till just recently but check out the amp tone! the amp has one eight inch speaker the band had loud lou on drums still it cut right thru
fwiw -I used an early Roland Cube 40 for my stage monitor - with a line out to the PA for a number of years - but I was playing with a country band at the time. You might check the new cube 40 out. I'd look into an emulator fx pedal if you want the solid state to grind at all. ----------
IMO, you get a bit of a better tone out of a solid state amp built from discrete components than you do from one based on chips. This is not because it's impossible to make a good chip amp (there a couple really nice chips, like the venerable "LM" series from National Semiconductor (LM386, LM3886, LM1875, etc.). I've built a couple amps using these chips, and they can sound great. But, in general, discrete transitors sound better because they are built to slightly better spec than the chips generally are. My best sounding solid state amp is a Realistic MPA 20 from the 70's, which is a radioshack brand 20 watt, two channel PA head. It's got two discrete MOSFET power transistors, and an all FET preamp section. Coupled with right speakers, it has amazing harp tone. At one point, I found another MPA 20, this time from the 80's, and was WAY disappointed in it's tone. I took it apart, and lo and behold, they had switched to a chip. Just a totally different sound out of that amp than what was coming out of the older one...
Now, as to what TYPE of transitors to use. I've experimented a lot with this stuff a few years back. I don't have a lot of experience with power amp sections. When I was still building amps for fun, I defaulted to chips for the power amp part, and just made sure to keep the signal within the operating range of the chip so that the chip had nothing to do with the tone (i.e., it just made the preamp tone LOUDER). I did mess around with preamps quite a bit. You can do okay with opamps, but IMO, where it's at are discrete FET transistors. Either J-FET or MOSFET (or BOTH!), arranged in at least a two stage preamp section, set so that you can control TONE and GAIN between the stages. Basically, the point is to use your mic signal to overdrive the first stage (typically a J-FET), and then use the gain and tone controls to send a signal to the second stage (I found that MOSFET is great here) which can be kept low for no additional clipping, or dimed for extra clipping. Then, you need a volume control before the power amp, and you NEED to be adjusting this volume control INTERACTIVELY with your preamp control. You can get a HUGE variety of sounds this way...
Anyway, I know I'm going a little off topic by not picking a stock amp to say that it's the best (although IMO, the Realistic MPA20 is pretty damn good for what it is), but my hope is to provide a bit of general "solid state amp theory" for WHY a particular amp might sound better than another...
And finally, if you are serious about solid state amps, you NEED to join up over at the soild state guitar amp forum (www.ssguitar.com). There is a TON of knowledge there, and I have learned a great deal from the fine folks who frequent that forum! ----------
I have a Peavey Special (120 watts). It was the original in the Solo Series by Peavey that produced the subsequent Special amps, including the famous Special 130. The tone is OK, but not tremendous. I guess the question must be asked: What kind of tone? The tone you would get from a tube amp? Which tube amp? Which player's tone (if any), would be an example?
Billy Branch has a Special 130, but it is Billy that makes this amp sound special. Below is Billy playing through the Peavey Special 130, run through a standard Peavey PA system and using an Electrovoice 635A microphone.
Funny you mention this subject (and I have not tested this amp) but I saw this amp advertised, and it is my new dream amp. If it is as advertised, it would be superb - the Quilter Labs MicroPro 200:
I have a Peavey Backstage Plus with a Rajin Cajun speaker in it that is not only a pretty versatile Guitar amp, but a credible harp amp. It has 35 watts and spring reverb. I picked it up for use as a courtesy amp at an open mic that I attend, and is used primarily for guitar. However I discovered it is also a pretty decent harp amplifier. Harpsucker has a good video of one.
Last Edited by on Sep 14, 2012 10:23 AM
I've got a little Danelectro Nifty Fifty I use around the house for practice. Doubt I would ever gig with it but for a solid state amp it actually sounds pretty good. It doesn't like my 545sd (I can only turn it up to 2 before feedback) but it loves my JT-30 RH and I can crank the amp all the way up with no problems as long as I'm not standing too close it. I paid $99.00 for it new about 12-15 years ago but I don't think they make them anymore. I've seen them on ebay for $50.00 or less.
I think Tech 21 makes the best solid state amp. All analog, no chips, and a very realistic tube tone. I had a 60 watter years ago that I used for guitar and wish I still had it today. Don't know what it sounded like with harp because I didn't play harp back then but I wouldn't be surprised if they work well together.
Tech 21 also makes an all analog, 60 watt powered transparent speaker cab called "The Power Engine 60." They're perfect for plugging in a Sans Amp Para Driver DI, or Blonde. I think Harpninja uses that setup but uses a QSC powered speaker instead of the Power Engine.
Old Hickory - I bought a Danelecto Dirty Thirty amp for about $15 on a whim several years ago on eBay. I ended up giving to to a young guitar player. All I got out of it was feedback. It may have been the mic I was using at the time...
I remember seeing Charlie Musselwhite playing solid state four ten randall amps.Thought he sounded better back then.He could work a solid state amp better than anybody.
I appreciate old 2x10 Fender Princeton, especially using my LoneWolf HarpAttack. ---------- Excuse my bad English. Click on my photo or my username for my music.
The Fender Yale Reverb is a good old SS amp for harp. It's a mostly forgotten model from the early 80's during the Rivera-era of Fender, but for all intents and purposes, it's pretty much the solid state version of the Princeton Reverb with a 50W output, and sans the vibrato. It's a bit lacking on the low end, but with a pedal in front of it, be it LW Tone or some other EQ device, it can really be a good compact crowd cutter.
To touch on the votes from the Pignose fans, as I mentioned in another thread recently, the new Luna UK-5 ukelele suitcase amp is another alternative for a small, but harp friendly battery-powered busking amp. Great looks, good tone, and very affordable. ----------
Hawkeye Kane
Last Edited by on Sep 14, 2012 9:09 AM
For years I played through a Fender sidekick 30. It had a Pyle Driver installed at some point and had.... Still does have great tone. The reverb crapped out finally but other than that it's been a workhorse. Nice clean to overdriven sound. ---------- Alex
Just haven't tried that many. Pignose is ok with delay and not turned up too far but the speaker limits it IMHO. I used a B C Rich 80w bass combo with a single 10", which I thought was surprisingly good. I used a mouse amp tonight, thought it rather harsh until I padded the output and used a G harp, then it was quite smooth. I might try some delay with it, I think it'll be ok. ----------
I bought a Roland Microcube some years back, not a bad practice amp but not great. Picked up a similar type Crate when GC was selling out, 2 4" speakers, a little better, but not great. Bought the Vox 2X8 amp thinking it would be ideal for busking, didn't really like it for harp, sold it. Picked up a Letrosonic Maxi Mouse on ebay, largely because Adam sounded so good through one. By far, the best battery powered amp for harp I've owned. Not great, but seems to react to changes in gain the same way a good tube amp does. Never owned a big plug in solid state.
When I sit in with Kilborn Alley and other bands I still use my "sit-in amp", the Electro-Harmonix 44 Magnum played into a 10" Lil' Buddy using my Shure Unisphere 585AV mic. I don't haul vintage tube amps out unless I know in advance that I will be playing all or most of a gig. It is such a lightweight rig, it is loud, and it sounds pretty good, too. It has a warm distortion, though not a classic Chicago tube amp breakup. I like this amp/speaker/mic combination a lot!
I have played through a friend's Fender Harvard solid state amp that sounded pretty good. Also, used to have a Gorilla 20 that sounded decent, and I had a Crate 15 watt amp that sounded OK through a 6" speaker.
These days I use one of my tube amps, the PA, or the 44 Magnum amp. ----------
Doug S.
Last Edited by dougharps on Mar 27, 2013 3:02 PM
@Rick Davis I used the 44 Magnum rig with Kilborn Alley again last month and a girl shooting photos of the band shot a picture of it after the gig. The band is still amazed by how loud it is for such a small rig.
I thought you had sold your 44 Magnum. Even if you don't gig with it, it would make a handy backup amp as long as you only use 8 or 16 ohm loads.
The 44 Magnum does not deliver the same big sound as I could get when I used to sit in with Kilborn and use Deak's Bassman (when he played with Kilborn). Of course Deak got an even bigger sound with his Bassman amp than I could... but the EH 44 Magnum weighs a lot less.
I have never heard anyone come close to Deak's massive sound, though I have heard a lot of big tone from touring pros, and I am not bad myself.
But I do recommend that people consider the 44 Magnum when looking at solid state amps. The downside is the need for a cab with a speaker (I like the Eminence Lil' Buddy you recommended) and possibly a different mic than what they usually use in order to avoid feedback issues when they turn up. ----------
Holmes Harp Commander Four into PA or keyboard amp. Discrete transistors. I'm using an RP255 for delays, reverbs and other effects. All the best on your journey, Jay ---------- Music speaks where words fail.
Best I've ever played is a Fender Mustang III. 100 watts, giggable, light as a feather and has the best Fender amp models I've heard. Unlike other modelers I've used, there's actually a subtle difference between tweed and BF amps within each category. Most of the non-Fender modelers just have BF OR tweed. The Mustang gets it right.
Got a Pignose and a Vox VT-50 (essentially the same as the 30 Gary mentioned above) which I both like a lot. The Vox being far more versatile with a positively silly amount of modelling and effect options, too many almost. However, that way you can get a lot closer to the sound you want (lets you save 2 settings you build yourself). However, among solid states I also really like the nifty fifty mentioned above
FINALLY! I was wondering if I was alone on this. LOL.
@9000
No question that the HC4 is a superb solid state device for harp. Hell, it's built for harp from the ground up. And Ron Holmes has told me that players of other reed instruments like saxophone have also purchased the Commanders for preamp use. Here's the one question that I hesitantly pose on it though....
Can the Commanders truly be considered AMPS? In my mind, the definition of an amp is that it has a preamp, rectifier, and speaker-driving output. The Harp Commanders only have line-level outputs incapable of driving a speaker on its own. Don't get me wrong, I'm not saying it isn't one of the best solid state units for harp, because it most definitely is. But I would classify it as a PREAMP device and not an AMPLIFIER since it requires some other powered amplifier to be used.
Thoughts anyone? Am I totally off base with this?
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Hawkeye Kane
Last Edited by HawkeyeKane on Mar 28, 2013 9:38 AM
@MarkHagen: the VT has lots of options, for sure. truth be told, though, i almost always play through the ac30hh model, with either delay or chorus/compression effect. i've got 3 or 4 carefully arranged settings that i use.
@Hawkeye: I understand the question but not the issue. What difference does it make. Rick asked about the best solid state amp we've heard. I've had some GREAT amps...boxes with speakers and all the other stuff in the past. I used to be a purist: only a tube amp, no volume control on the mic, nothing in the signal path. At some point I saw that some other guys on these forums were trying different ways to be heard over the Super Reverbs and Mesa Boogies that the guitarists play. I waded in very slowly and now I've landed on the HC4 with RP255 effects....all solid state and I simply plug into the PA or a keyboard amp or two which is all solid state. That said, I agree with you that the HC4 with RP255 is absolutely not a free standing "amp" but it's the best solid state RIG that I've ever played through. I'm so happy to be done with the chase for an amp that has the tone and will also let me be heard over the band. That topic is one of the most frequent gear threads on this forum. All the best to everyone as you search for your tone! Jay ---------- Music speaks where words fail.
I'm glad this thread re-surfaced. I was looking for opinions on non-digital SS amps for harp. dougharps convinced me to try the tiny EH 44 Magnum amp, and it is very very cool. It has the best tone I've heard from an SS amp, with plenty of power - 44 watts!
It is the perfect backup. You don't have to carry a spare speaker cab to use it. If your tube amp has a 1/4 inch phone plug connection to its speaker it is quick and easy to switch to the 44 Mag using the speaker in your amp cab. You need a 1/4 inch speaker cable and a double female adapter, and you are ready to rock.
A little bright, not a ton of bass, larger (12" or 15", I think) speaker, but those vintage germanium transistors and a broken-in speaker make for a decent tone. Shure GB with a CM. Tone all the way down, reverb over half, volume is plenty for a small to mid size room. An eq pedal would turn this thing into a great cheap alternative to spending money I don't have right now.
Quilter Micro Pro 200. It is a modeling amp, one of the best. James Harman uses one. I had the 200 for about a year. All the settings you need. Very good bass response,tremelo, vibrato, and settings for various classic amps. My only complaint- as well as other solid state amps - compared to a tube amp, there is a shallow flat tone, not much depth, especially on recordings. Maybe it's just my ears.
This is a Pignose 30/60. It's a 1X12 job and iv'e never seen another like it. 30/60 has nothing to do w/ RMS wattage.
used it as a loaner when my Fender was in the shop back in the 80s. i liked it so much i bought it from the repairman.
i gave it to my neighbor, MBH member MojoKane.
i still it is OK for a solid state amp.
---------- i still have a little Hohner stock for reed replacement in three common keys. when these are gone i'm out of the biz. click MP for my e-mail address and more info.
Last Edited by MP on Nov 12, 2013 3:02 PM
I have a tremendous respect For anyone who can do little walter justice. The fact that it was done on a solid state amp, only adds to the wow factor. My hat is off to you mr. mark prados. If I ever make it to Hawaii The beer is on me.
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i get a lot of request when i play my harmonica "but i play it anyway"
