We guitar players are living in exciting times. I am talking about the lunchbox amplifier: a small form factor head that packs a full set of tubes (or valves) and is rated between 1 and 20 watts.
For not much money, you can get a tube amplifier that you can crank to your heart’s content and both your eardrums and your rental contract will be intact afterwards. Moreover, you don’t have to break your back to bring one onto a small stage, and when it gets there, it doesn’t completely obliterate the rest of the band.
It started with the smaller, upstart companies, and now, five, six years down the line, even the high-wattage giants Marshall and Mesa/Boogie have jumped on the bandwagon and issued lunchboxes of their own.
I think this is a wonderful development. Tube amplification has all of a sudden become a realistic option for us home recording people who happen to live in apartments. As well as for amateur musicians who take to stages that are no more than dimly lit corners of restaurants. Even though the sound quality of solid-state equipment has been steadily improving in the past 20 years, there is just something about tubes that we don’t want to abandon.
This is all well, but it does beg one question. Did it take that many years for the industry to realize just how overpowered a 50 or 100 watt stack really is? Or has it been a form of confirmation bias: amp manufacturers have only ever offered 50 and 100 watts, thus people have not been able to buy anything else, confirming back to the manufacturer the correctness of their offerings?