As of fall 2014, Fender amps equipped with a presence control include the ’59 Bassman LTD, ’57 Band-Master, Blues Deluxe Reissue, Hot Rod DeVille 212 III, 410 III and ML 212, Hot Rod Deluxe III, Blues Deluxe Reissue, and GB Hot Rod Deluxe. Single-ended class A amps (one straight signal path from tube to tube) are generally 5-10 watts. 3 MONTHS OF FREE ONLINE LESSONS.LEARN MORE. Most Fender and Marshall amps are class AB while Vox amps are generally Class A. Here’s where things get a little complicated, but hang in there with us. Their harmonics, warmth, articulation, and speed are imitated by solid state amps but never quite duplicated. What does it do? Vox amps are considered the sound of the “British Invasion” of the mid 1960s. Saying that the upper-mid and treble frequencies become more present doesn’t exactly mean they become “louder” in the sense that an amp’s volume control affects all frequencies evenly. Curbside Pickup Every Day, Showrooms by Appointment Only. Orange amps have been known to be “fat” and warmer sounding than any of the UK’s popular amplifiers. We’re here to help clarify the rights, wrongs, myths, grey areas, dos, don’ts, and give you a grounded understanding on how to utilize your beloved gear in the best way. Digital modelers are solid state amps that have built in digital effects processors to allow the user to simulate different amps and effects all from one unit. Some amps feature a Presence control, which adjusts high end from the power amp section, as opposed to the preamp section (treble). The magic of an early Marshall amp is to blend both channels to balance the right blend of brightness and boldness to attain some of the most quintessential electric guitar tones. Push-Pull class AB amps are far more efficient and capable of producing significantly more power. On the converse, extremely high voltage is required and the amp runs rather inefficiently. Tube amplification provides a significantly more satisfying musical experience. Meanwhile, in a true class A amp, each power tube is responsible for the entire wave itself. Generally, higher wattage amps have more “headroom”. A channel switching amplifier will allow you to have two distinct sounds, most commonly clean and overdriven. The magic of an early Marshall amp is to blend both channels to balance the right blend of brightness and boldness to attain some of the most quintessential electric guitar tones. Any overdrive would be accomplished by increasing the gain and/or volume on the one channel. ORANGE ROCKERVERB 50 MKIII. The chassis holds the circuitry (and tubes if a tube amplifier) which connects to the speaker within the unit via speaker cable. To explain what a presence control does in greater detail, let us note a fundamental basic of amplifier design. Think about your 100 watt Marshall and Orange amps. What is it and how can it help energize your live sound? The presence control, on the other hand, resides in the power amp stage. In the early ‘70s, Mesa took the Fender amp platform and sent it sprawling into new territories, giving the world the first “high gain” amplifier.