The process of evaluating an amp

[rpjazzguitar]

Today, in the practice room, I set up my usual amp and it sounds terrible. I fiddle endlessly with the settings and each one sounds worse than the last.

I wonder how I've been using this piece of crap on gigs.

So, I set up two other amps. One three ways. Internal speaker, direct out and mic'ed. That one sounds pretty good with the internal speaker, but I mic it to see if I can get it to sound as good through the PA (because I need more volume than it has). It doesn't sound great through the PA, but with both the amp's speaker on and the PA together I can manage my unhappiness.

Then, just before quitting for the day, I connect the original amp the way I had it at first. And, wouldn't you know it, it sounds better than any of the others and I like it fine. The exact same thing I hated an hour earlier.

Apparently, the way I should buy an amp is to first wait an hour and then buy anything.

Then I recalled playing gigs where the amp sounded awful when I first plugged it in and then, by the second set, the same thing sounded fine. So, apparently, there's some acclimation going on. Still, makes it hard to know what you're going to like on a gig.

[mikeSF]

Our brain is continuously recalibrating our sensory input, not only audio as you've described, but colors and light from our eyes too.
I agree with your perception. There is a well known jazz guitarist who has a solo album that the moment I hear the first few seconds, the nasally honky midrange just bothers my ears. Like, I am almost angry how annoying the guitar tone was eQ'd. Then 4-5 tunes later, I hardly notice any issue and find the rest of the album to be very enjoyable. Something is going there, I always tell myself but havent done any actual testing to figure out what.

[DawgBone]

That's how come I just use a tried and true amp. Minimal fiddling from a known baseline setting to get a good sound.

[garybaldy]

Those GJ guitars sound horrendous straight after a regular archie.

[Gilpy]

I have had both guitars and amps that sounded good at home and not so good on a gig.
And vice versa.
Sometimes gear is a mystery. Eventually you find what works.

[JCat]

Today, in the practice room, I set up my usual amp and it sounds terrible. I fiddle endlessly with the settings and each one sounds worse than the last.

I wonder how I've been using this piece of crap on gigs.

You have my sympathy. I think we all could feel that way sometimes. You know, it happens to acoustic players too, that they don't recognize/approve the sound....Then they would typically blame the weather...(they can't fiddle with settings though, which may or may not be an advantage...)

"An acquired taste refers to an appreciation for food, drink, or experiences (like art or music) that are initially disliked or unappealing but become enjoyed through repeated exposure and familiarity. Unlike innate preferences for sweetness, these tastes are developed over time and often require overcoming an initial aversion."

Conclusion: If the player has aquired a certain taste, but his audience has still not overcome the initial aversion, there's a problem

Unfortunately these days many players got an acquired taste of digital modelers and recorded hi-fi sounds. The problem here is that a hi-fi system is supposed to reproduce a live sound, not to create it. Hi-fi studio gear tend to sound bad on stage; way too much bass, too deep mid scope, artifical stereo imaging etc.
Furthermore, a balanced sound for solo playing is different from a balanced sound in a band mix. For example; when playing solo you need a full spectrum sound. When playing together with a bass player and cymbals, you cannot have a full spectrum sound or you'll get lost in the mix.

Assume an amp that is easy to dial in for a good sound in a band mix (and that you have aquired a taste for that sound); the same amp may not necessarily meet your requirements when playing solo...or vice versa....

And here's the mother:
Assume a practice amp in a corner and that you haven't touched the knobs in years. Then somebody runs a vacuum cleaner over the control panel, screwing up the set-and-forget settings of yours...and that sound, that you have aquired a taste for, is forever gone

[jads57]

Can’t tell you how many amps that sounded wonderful in the store that sounded awful on the gig.
Just make sure you get a return policy! And there is a reason Fenders are so popular due to getting it right in the beginning as well as improving them over the years.

I will say we are living in a Golden Age of gear. And SS as well as Digital are basically as close as Tube Circuits! And plug-ins ,especially with a good engineer are probably better for recording.
Thats been my experience for over 50 years and countless gigs including studio,stages.

[garybaldy]

Can’t tell you how many amps that sounded wonderful in the store that sounded awful on the gig.
Just make sure you get a return policy! And there is a reason Fenders are so popular due to getting it right in the beginning as well as improving them over the years.

I will say we are living in a Golden Age of gear. And SS as well as Digital are basically as close as Tube Circuits! And plug-ins ,especially with a good engineer are probably better for recording.
Thats been my experience for over 50 years and countless gigs including studio,stages.

The Engl Screamer comes to mind. I ended up paying the extra and got a Twin instead.

[bluejaybill]

Today, in the practice room, I set up my usual amp and it sounds terrible. I fiddle endlessly with the settings and each one sounds worse than the last.

I wonder how I've been using this piece of crap on gigs.

So, I set up two other amps. One three ways. Internal speaker, direct out and mic'ed. That one sounds pretty good with the internal speaker, but I mic it to see if I can get it to sound as good through the PA (because I need more volume than it has). It doesn't sound great through the PA, but with both the amp's speaker on and the PA together I can manage my unhappiness.

Then, just before quitting for the day, I connect the original amp the way I had it at first. And, wouldn't you know it, it sounds better than any of the others and I like it fine. The exact same thing I hated an hour earlier.

Apparently, the way I should buy an amp is to first wait an hour and then buy anything.

Then I recalled playing gigs where the amp sounded awful when I first plugged it in and then, by the second set, the same thing sounded fine. So, apparently, there's some acclimation going on. Still, makes it hard to know what you're going to like on a gig.

I wouldn't be surprised if you are talking about a Little Jazz. That amp sounds different if I move it an inch, I swear!

I think in my case it's because it has a rear port, and how close to the wall it is really affects its tone. And then I brought it to jam session and it sounded completely different. I never had that a problem with open back amps like Fender Deluxe Reverbs.

[rpjazzguitar]

The LJ was the one I tried 3 ways. I thought it sounded best with its own speaker, but it's not loud enough for some things I do. I think it's a great sounding amp in its volume range.

The one at the start and again at the finish was the JBL Eon One Compact. I roll off some bass and, somtimes some treble.

The other one was a JC55.

Backed up a singer in a duo situation today and used the LJ.

[DawgBone]

I wouldn't be surprised if you are talking about a Little Jazz. That amp sounds different if I move it an inch, I swear!

I think in my case it's because it has a rear port, and how close to the wall it is really affects its tone. And then I brought it to jam session and it sounded completely different. I never had that a problem with open back amps like Fender Deluxe Reverbs.

Wall proximity is a sure fire way to change the tone on anything with an open back, and usually not for the better. Def made even worse if the wall is a hard material like glass/mirror, corrugated tin, cement, or stone. If you can get two feet between the back of the amp and the wall it's usually mitigated enough to be tolerable but otherwise I find myself turning down the treble and turning up the bass as well as making some tone control adjustments.

Another sure fire way towards amp harshness is a cement floor with a high ceiling or no ceiling at all esp in conjunction with no back to the stage, also really hard to dial out. I try to bring a plush rug for gigs like that so it eliminates some of the treble slap.

[ruger9]

Wall proximity is a sure fire way to change the tone on anything with an open back, and usually not for the better. Def made even worse if the wall is a hard material like glass/mirror, corrugated tin, cement, or stone. If you can get two feet between the back of the amp and the wall it's usually mitigated enough to be tolerable but otherwise I find myself turning down the treble and turning up the bass as well as making some tone control adjustments.

Another sure fire way towards amp harshness is a cement floor with a high ceiling or no ceiling at all esp in conjunction with no back to the stage, also really hard to dial out. I try to bring a plush rug for gigs like that so it eliminates some of the treble slap.

My open back combos at home are backed up against a wall (probably 10" away?) ... and not only that, but in a corner. Seems I get more low end that way? If I take either out (to a practice or gig) I definitely hear less low end. Luckily, for home playing (alone), I LIKE the extra low end, simply because it sounds fuller.