5 Great Tube Combo Amps

For guitar players, nothing can quite match the warm vintage tone of a tube amp. Though solid state amps do have their place, many professionals prefer the sound of tube amps, and their use is widespread in both recording and live situations. Recording guitar with a tube can provide a superior tone that just can’t be beat. Unfortunately, many of these amplifiers are very expensive, especially when working with large amplifiers for live performances. Luckily, there are a few lower power tube amps that still provide fantastic tone, without the heavy price tag.

When recording guitar, large half stack amplifiers aren’t required, and can even be problematic in the studio. We’ll be taking a look at some of the best combo tube amplifiers that work great for recording electric guitar in the studio environment. These smaller amps are also very portable, making them well suited as a practice amp with a band, or for live performances in a small venue.

Marshall DSL40C

 

 

The Marshall DSL40C is the perfect option for someone looking to get the classic Marshall tone without completely breaking the bank. This amp provides 40 watts of power, and has many different controls, allowing it to produce a variety of different tones.

The clean sounds from this amp are crystal clear and smooth, while the gain channel provides amazing lead tones. This amp sounds fantastic for rock genres, especially when paired with a humbucker pickup. There’s also a tone button that causes a mid-scoop, making it just as great for metal.

Overall, this amp is extremely versatile, and can provide great tones for just about any genre of music or with any guitar.

VOX AC15C1

 

 
The VOX AC15C1 is fantastic for genres such as classic rock, or for blues. It provides a warmer tone than the Marshall, and turning up the gain provides more overdrive than crunch. However, this amp can get quite distorted if the gain is turned all the way up. Though it does provide quite a bit or distorted, it’s not an amp that is good for metal, so if that’s what you’re after, it’s best to choose a different amp.

The Vox AC15C1 works well with just about any guitar, whether it’s the single coil pickups in a Stratocaster, or the humbuckers in a Les Paul. This amp also has built in reverb and tremolo, allowing easily replication of classic tracks without the need for other expensive pedals.

Blackstar Venue Series HT Club 40

 

 
The Blackstar Venue Series HT Club 40is a 40 watt tube combo amp that is capable of produce massive sounds with A LOT of distortion. Compared to some other amps, such as the Marshall, this amp’s distortion is very saturated and quite a bit of fuzz. It also really squeals when pinch harmonics are used, a feature that some of the lower powered amps might struggle on. The HT Club 40 also has a fantastic clean channel that is very versatile due to a tone switch that scoops the mids. This changes the tone from warm to bright with a lot of high end clarity.

This amp has a few extra features that make it a great choice. First, there is an effects loop provided on the back, allowing pedals to be used to modify tone after the guitar preamp. There is also built in digital reverb, as well as an included footswitch to switch between clean and distorted channels as well as control the reverb.

The Blackstar HT Club 40 would be well suited to genres such as hard rock and metal, where power and heavy distortion are required.

Fender Blues Junior III

 

 
The Fender Blues Junior III is a 15-watt tube combo amp that provides bright clean tones, but warms up quite a bit as the gain is increased. The amp provides very clear clean tones when the volume is low. We’ve found that the clean found lacks a little low end, and can be pretty percussive, especially with single coil pickups. There’s also a fat switch to beef up the tone and make it a little thicker. This amp provides a great overdrive tone as it’s turned up, but not a heavy distortion like the Marshall or Blackstar amp. There’s also a spring reverb control, but this should be used lightly since it can sound out of place with the percussive sound of the amp.

Ibanez TSA15 Tube Screamer Combo Amp

 

 
The Ibanez TSA15 Tube Screamer Combo Amp provides 15 watts of power in a compact tube amp. This amp provides nice clean tones, but provides a great overdrive sound when turned up. There’s no doubt this amp deserves the name tube screamer.

This amp works well for genres such as jazz, blues, and country, but it’s not so great in situations requiring heavier distortion such as hard rock. There are two separate channels, boost and clean, which can be switched easily using a footswitch. There is also a boost control, which adds a little extra volume for solos or times when the guitar just needs to cut through some of the other instruments. One great feature of this amp it that is has a separate volume control from the tube screamer section. This allows the amp to be pushed hard to get some solid overdrive while simultaneously backing off on the volume for quieter playing.



With so many different guitar amps available, choosing the right one can be a difficult decision. Hopefully we’ve been able to make this decision easier by covering some of the best tube combo amp options for the home studio. If you’re interested in these amplifiers, we always recommend testing one for yourself with your own instrument, or at least watching a few videos on what it sounds like before dropping your hard earned money on some new equipment.

Microphone Polar Patterns

When choosing a microphone, one important detail you must keep in mind is the polar pattern. Polar patterns determine what angle and direction a microphone is most sensitive from.

A microphone's polar pattern is represented by a 2 dimensional chart that visually shows the microphone's sensitivity at different angles and distances. Though the chart shows the microphone's polar pattern in 2 dimensions, in reality the microphone's actual polar pattern is 3 dimensional.

Though there are many different polar patterns today, early microphones were either omnidirectional or bidirectional.

Omnidirectional

Omnidirectional microphones are sensitive to sound from all directions pretty much equally. They work by measuring sound pressure at a certain point, and therefore are not sensitive to the direction the sound came from.

Omnidirectional microphones won't pick up wind noise or plosives like other microphones, and don't cause a proximity effect as the source gets closer to the microphone.

Unfortunately, since omnidirectional microphones pick up sound from everywhere, they do not provide good sound isolation. Also, this polar pattern is pretty much useless in live music situations.

Being able to pick up sound from all different directions certainly has its place in music recording. Omnidirectional microphones work great for recording ambience, as well as orchestras, and pianos. These microphones lead to a natural sound and work best in rooms with good acoustics.

Due to the nature of omnidirectional microphones, they also work great as lavalier microphones. Since they don't pick up plosives or have a proximity effect, they can pick up the human voice quite well. Also, the omnidirectional pattern prevents these microphones from being affected by head movement.

Bidirectional

Another common type of polar pattern is bidirectional (figure of eight). Bidirectional microphones pick up sound equally from the front and back, but pick up almost no sound from the sides.
All ribbon microphones are bidirectional since the ribbon is sensitive to sound from both sides. Even some large diaphragm condenser microphones are bidirectional.

Bidirectional microphones are useful in some types of stereo recording, and have even been used to record two singers at once when recording engineers had limited tracks to work with.

Cardioid

By far the most popular polar pattern of microphones today is cardioid. Cardioid microphones have a heart shape pattern that is most sensitive to sound from the front, less sensitive from the sides, and not sensitive from the rear.

The cardioid polar pattern is formed by the interference between the omnidirectional and bidirectional polar patterns. At the front, the two polar patterns interfere constructively, boosting the signal and making it the place where most of the sound is picked up. No interference happens at the side, so this level remains lower than the front, and is only picked up by the omnidirectional pattern. The omnidirectional and bidirectional patterns interfere destructively at the back, leading to no sound being picked up there.

Cardioid microphones are used when isolation is needed, whether that be from other instruments, or trying to avoid picking up room ambience. They work great for recording guitar amps, vocals, and drums. Cardioid microphones also produce better results than omnidirectional or bidirectional microphones in rooms that are not acoustically pleasant.

By only picking up sound from one direction, they reduce ambient noise and are resistant to feedback in live environments. However, cardioid microphones do pick up wind noise, plosives, and are susceptible to the proximity effect.

Supercardioid

An extension on the cardioid polar pattern is the supercardioid. These microphones have an even narrower pattern than cardioids so they pick up even less sound from the side. Supercardioid microphones are less likely to have feedback issues than cardioid microphones, but do pick up some sound from behind. Due to their tight polar pattern, supercardioid microphones work great in loud, live environments.

Hypercardioid

The final type of microphone polar pattern is hypercardioid. This polar pattern is even narrower and tighter than supercardioid and picks up even more sound from behind. These microphones are also known as shotgun microphones, and are typically used to pick up a specific sound source from a distance, especially in environments with a high level of ambient noise.



In the end, choosing the right polar pattern for a situation is very important to gettting good results when recording. Whether recording room ambience or needing tight isolation for live recordings, there's a microphone polar pattern that's right for the job!

Bluetooth Earbuds: 4 Solutions For Athletes Looking To Go Wireless

Bluetooth earbuds are a fantastic way to connect listen to music on your phone, without the hassle of cables. With some phones, such as the iPhone 7, no longer supporting standard 3.5 mm headphone outputs, Bluetooth earbuds are a fantastic solution and may become more popular as time goes on.

Athletes may find Bluetooth earbuds particularly helpful. The cable from regular earbuds can be quite annoying while running, since it can get in the way. Bluetooth removes this problem and allows you to run freely, without having to worry about snagging the cable.

Many Bluetooth earbuds have convenient features located directly on the earpiece such as a power button, volume control, and even options to change the track. Others also feature a built in microphone, allowing the user to easily make phone calls with them.

Since Bluetooth earbuds aren’t directly connected to the phone, they require their own power source. Normally, this works fine and they can last for hours at a time. Unfortunately, many people might struggle remembering to charge their earbuds and will find that they won’t ever be charged when they need them.

Also, the battery as well as radio within the Bluetooth headphones makes them considerably larger and heavier than conventional earbuds. They typically require a separate hook pieces that holds the earbuds in your ear, instead of just relying on the speaker portion like normal earbuds.

Though Bluetooth earbuds aren’t directly connected to the phone itself, many do still have a cable that connects the left and right ears. This allows them to communicate properly together so there will be no synchronization problems. Another advantage of this cable is that it prevents them from being lost. Let’s be honest, a set of earbuds with a cable in between is much easier to keep track of then two separate tiny earpieces. Also, it one earbud happens to fall out while in use, the cable will catch it, whereas separate earbuds could fall to the ground and be damaged or lost.

We’ll be covering some of the best Bluetooth earbuds for the money, only considering those that are with the price range of the average consumer, and comparing their quality and features.

Mpow Cheetah Bluetooth Headphones

The Mpow Cheetah Bluetooth Headphones are specifically targeted for athletes who require a sweat proof headset and secure mounting. These headphones are universally compatible, allowing them to be used with any type of cell phone with Bluetooth support. They also feature a long battery life, allowing up to 8 hours of playback on a single charge. These headphones wrap around the back of the ear, preventing them from falling out even under the most extreme workout conditions.

As a lower price Bluetooth earbud option, these are great to get started, but some have found their longevity to be less than spectacular. There have been a few reports of these headphones no longer working after a 6 months to a year of heavy use, though most people won’t have any problems.

AELEC S350 Bluetooth Headphones

The AELEC S350 Bluetooth Headphones have a slightly different design than the previous model. These earbuds have a hook that sits within the ear to hold them in place. Since most people’s ears are different, they include a few different sized ear hooks, and we would definitely recommend experimenting with them for optimal comfort and security.

These earbuds also have built in features such as controls for volume and track change. There’s also a built in microphone, allowing for hassle free phone calls without needing to remove the earbuds and take out the cell phone.

CellBee WAVE Series Bluetooth Earbuds

The CellBee WAVE Series Bluetooth Earbuds are also designed to be used by athletes. These headphones have an ear-loop to prevent them from moving during heavy exercise. They also feature a high capacity lithium battery, allowing for 8 hours of music, 10 hours of phone calls, and 250 hours on standby. The controls buttons are located on the cable between the two earpieces, and features a volume control, phone call answer button, and a microphone.

TaoTronics Bluetooth Headphones

The TaoTronics Bluetooth Headphones are designed for security with the athlete in mind. These headphones have an over-ear hook, as well as a clip that you can likely attach to the back of your clothing, preventing any risk of the headphones falling out and being damaged during even the most extreme conditions. They feature convenient volume, track change, and a multifunction button right on the earpiece, as well as a microphone for taking phone calls. They also come with a few different earbud sizes for different ears. The earbuds include CVC Noise Cancellation Technology, to block out external noise when taking phone calls. Though the 7-hour battery life may not be as long as some of the other options, these headphones may be the right choice if comfort and security is a priority.



Overall, Bluetooth headphones are a fantastic way to listen to music wirelessly, and there’s no need to go spending several hundred dollars on a set of Apple AirPods. We’ve covered a few different sets of earbuds, but would definitely recommend the TaoTronics Bluetooth Headphones to any athlete looking to listen to music while exercising.

Recording the Perfect Vocal Track

Capturing the perfect vocal track is one thing that can either make or break a song. The goal when recording vocals is to make them sound as close to the natural voice as possible. Since we are so used to hearing the human voice, this is easier said than done.







The first step in recording vocals is choosing a suitable microphone for both the singer and the song. Though not set in stone, a good quality large diaphragm condenser microphone is typically used to record vocals, due to its sensitivity and ability to pick up a wide range of frequencies. Though dynamic microphones may not sound as natural as condenser microphones, they may be perfect for loud singers.


The next piece of equipment that is absolutely necessary for vocal recordings is a pop filter. When singing, we release bursts of air that "pop" the microphone. This is particularly noticeable on the P sound. Plosives cause clipping, which sounds awful and will immediately destroy a recording, since it cannot be fixed during mixing. A pop filter is an inexpensive device that disperses the blast of air, only allowing the clean sound of the voice to reach the microphone. A pop filter consists of a circular frame that attaches to the microphone stand and holds a mesh material. Pop filters can be purchased for about $20, so there's no excuse not to use one.

An important part of capturing a good vocal performance is making the singer more comfortable. One advantage to working in a home studio, is that you don't have the same time restraints as working in a professional studio, where you could be paying by the hour. Making sure the singer isn't stressed during their performance is just as important to a good vocal track as choosing a microphone.


When recording vocals, it is important for a singer to be able to properly monitor their singing while they listen to the song. A good pair of closed-ear headphones work best for monitoring vocals. As they reproduce sound accurately and prevent too much sound from leaking into the microphone. Along with a good pair of headphones, the singer's headphone mix is also very important. A good headphone mix allows a singer to both their own voice and the some well. Not being able to hear either properly can lead to serious problems with timing and pitch. Also, most singers do not enjoy listening to the raw sound of their voice. Instead, add a little reverb and compression to the headphone mix to make the singer more comfortable. Singers typically perform much better when they hear their voice with reverb than as a dry signal. It is important however to not record these effects, as this process cannot be reversed later on.

To create a natural sounding recording, it's important to consider the position of the microphone. One of the first considerations is how far the microphone should be placed from the singer. The closer the microphone to the singer, the more you will hear the proximity effect. This causes a deep, booming vocal sound. The proximity effect is caused by the cardioid pattern of many microphones commonly used in the home studio. Placing a microphone too close to a singer causes an unnatural sound which can also lead to a muddy mix. On the other hand, placing the microphone too far away will create a distant sound and capture more reflections off the walls of the room. The "sweet spot" for recording vocals tends to be about 6" from the microphone. Since many singers try to get too close, the pop filter can be used as a physical barrier to prevent this. Adjusting the microphone height and angle should also be considered. Too high and the microphone will pick up a very nasally sound, too low and you get too much of a booming chest sound. A good place to start is with the microphone placed partway between the middle of the neck and the mouth.


One major problem faced by those recording vocals at home is the reflections from the room. When recording vocals, we aim to capture the cleanest, most natural sound. Any reflections from the room will interfere with this, and lead to problems with effects such as reverb later on. Fortunately, there are a few simple tricks you can use to cut down on reflections. The first way to reduce reflections on a vocal track is to move the singer closer to the microphone. This is a sure way to reduce reflections, however it can cause unwanted changes in tone. When changing microphone position is not an option, it's best to make some simple changes to the room. Typically, carpeted rooms without hard surfaces are best to record vocals in. One way to cut down on hard surfaces is to hang thick blankets from the wall. This is a cheap and effective way to reduce reflections. Finally, reflection filters can be attached to the microphone stand to block out any room reflections. The problem with reflection filters is they only stop reflections from reaching the back and sides of the microphone. Since most vocal microphones are cardioid, they tend to pick up most of their sound in front of them, making reflection filters largely ineffective. Overall, the best way to record vocals is to select an appropriate room and control any reflections from hard surfaces.

The last thing to consider when recording vocals is the level at which it is recorded. Recording too hot can cause clipping when a singer hits a loud part of the song. On the other hand, a track that is way too quiet will have to be amplified in the mix, which can lead to unnecessary noise. In general, it is best to stay well away from a level that could cause clipping. Since many audio interfaces offer the ability to record at a bit depth of 24-bit, the noise that could be introduced by recording at a lower volume is less of an issue. The level of the vocal track is set by a preamp. In many cases, the preamps built into an audio interface are sufficient to do the job. If possible, it may be better to use an external preamp, as these could warm up the tone of a vocal track.

A good vocal track is undoubtedly the most important part of a song. When recording, keep in mind the goal is to recreate a natural sound, as well as to work with the singer to get their best possible performance.

5 Monitor Speakers for Accurate Music Mixing

Monitor speakers are used in many professional and home recording studios for playback during mixing. The goal is to provide accurate sound reproduction without coloring like many other home theater speakers will cause. There are many different monitor speakers available, but this article will only cover active speakers.




Active monitor speakers have a built-in amplifier, so there’s no need for any equipment. Simply plug in the line output from your audio interface to the back of each speaker, hook them up to power, and you’re good to go.

Alesis M1 Active 320

If you’re looking for a cheap, small, and portable set of monitor speakers, check out the Alesis M1 Active 320. These speakers connect to your computer by USB, so there’s no need to carry around an audio interface with them. They also allow for recording instruments such as a keyboard directly. However, the portability of these speakers will influence the accuracy of these speakers, since small speakers can’t reproduce low frequencies very well.

Mackie CR3 Creative Reference Multimedia Monitors

Another small, portable speaker option is the Mackie CR3 Creative Reference Multimedia Monitors. These speakers have a nicer look to them, and they’ll work with audio interfaces instead of directly through USB. Like the Alesis speakers, these also have a 3” speaker that has a bottom frequency response of 80 Hz. They also feature convenient controls such as the front panel power and volume knob.

Behringer MS20 Monitor Speakers

The Behringer MS20 Monitor Speakers will provide a little more power with a slightly bigger 3.625” speaker. These speakers allow for both digital and analog inputs, and have volume, eq, headphone, and power controls on the front of the speaker. They also have a frequency ragne of 65-25,000 Hz, so they’ll be pretty decent for low frequency mixing even if you choose not to use a subwoofer.

KRK Rokit 5 Powered Studio Monitor

The KRK Rokit 5 Powered Studio Monitorsstrike a great balance for many people doing home recording. They’re more expensive, but each speaker provides 50 watts of power and is capable of reach 45 Hz. They’ll be very accurate for mixing, but aren’t portable. The KRK speakers also have controls for high and low frequency level, volume, and power, but all these controls are on the back of the speaker, which can be a small problem depending on the layout of your studio.

Yamaha HS5 Powered Studio Monitor

If you’re looking for a set of studio monitors that can be used in professional applications, the Yamaha HS5 Powered Studio Monitor is one to consider. These monitors are quite a bit more expensive, but they’re high quality monitors. They have a 5” speaker that is able to get down to 54 Hz, but subwoofers should be used with monitor speakers for low frequency mixing. At 70 watts, these speakers are more than powerful enough larger studios.