I'm an engineer at heart. I don't collect, and I don't have that "pride of ownership" thing. Things are tools: cars, guitars, screwdrivers, espresso machines, lawnmowers, hi-fi's, whatever. I buy one because it does the job, and I can afford it. I prefer it to be well-made, with good materials, be comfortable to handle, and work with as little friction and bother as possible.
Guitar amps are made to compete with the singer, the bassist, maybe a horn section, a keyboard, the guys at the bar ordering drinks, the pool game over in the corner, the trucks leaving and arriving outside, and (shudder) a drummer, that monster capable of rendering any other instrument inaudible with a flick of the wrist. Nuance and subtlety of tone pretty much vanish when the band strikes up. Guitar amps are just fine for that purpose.
Ah, you say, but they are used in studios as well, where there isn't so much competition. Take a look at a video set in a 32-track (or more) recording studio. Not only does the mixing desk have more controls for things you didn't even know could be adjusted, there are racks of industrial-grade electronics to distort, warp, and modulate sound in ways that are not available on a Helix or a DAW. What comes out of the guitarist's amp into the mic and back to the mixing desk is mere raw material. What's on the record bears zero resemblance to what the band heard in the studio. In the 1960's the amp might have mattered, but not so much since the mid-1970's.
Guitar valve amps are not for home playing. They only come on song around 70dB, and the sweet edge-of-breakup only hits at 85dB or so. Unless it's a, yes, the K-word, which has some trickery in its Tube Logic.
Okay. Let's look at the gear.
Based on Guitar tube reviews, there's a bunch of valve and modelling combos priced below £600 from Marshall, Supro, Vox, Fender, and other familiar names. The clean tone sounds somewhere between suspiciously pristine and just okay, while the cranked tone is thin and fizzy, or boxy and fizzy. The so-called boost buttons do not add harmonic distortion, but just noise. Many of them have quality compromises even more than usual, often in the quality of the speaker, tubes or other components. See Psionic Audio's review of the AC10C1 for an example.
Let's go over the £600 line, and stay there.
Guitar-amp manufacturers have a house take on the clean, edge-of-breakup, and distorted sounds: the usual characterisations relate to the clean sound. Roland is super-clean; Fender is "scooped"; Vox is "chimey"; Marshall is "mid-range"; and so on. Each range has three variations on weight: 20-25 lbs, 40-50 lbs, and 60+lbs. Only the first of those will be going upstairs, so if you want an AC15 or a 4x12 Marshall stack, either you need to know a couple of strong lads prepared to get them up the stairs, or the studio needs to be in the garden or on the ground floor, and you will need a trolley.
So the questions for a bedroom player are: a) do I like the clean tone , b) can I get the thing up the stairs without getting a hernia, c) does it sound good at low volumes, d) will it treat my favourite pedals nice , e) what's the cool factor?, f) can I afford it?, g) will it make that much difference?
a) excludes Fender, because their clean tone is full of itself, and c) excludes Roland because even the JC-20 is WAY TOO LOUD at about 2 on the dial. b) excludes any combo over about 12kg or so, and hence restricts me to the smaller 5-15 watt combos, or a 1x12 and a head. f) depends a lot on the answer to g). To be fair to most modern gear, c) and d) are generally YES for the clean tone, and NO for edge-of-breakup or distortion.
e) Cool factor. That's a tricky one. None of the usual combos or head+cabinets are that cool. Even Marshall stacks are iconic rather than cool.
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