Guitar Tone Archives - Fuzz Audio

The Story of Fuzz Audio and the Maestro Fuzz Tone Pedal

FuzzAudio — Thu, 29 Aug 2024 20:07:20 +0000

Discovering A Legendary Fuzz Pedal: The FZ-1A

One day, while rummaging through the garage, my father stumbled upon an old, dusty pedal—a genuine Maestro Fuzz Tone FZ-1A guitar pedal. Excitement quickly turned to disappointment when we realized it had been stripped down to just the foot switch and a couple of jacks. The pedal’s core was missing, and it was heartbreaking to think that someone had overlooked its true value.

At that time, I was just starting to dive into vintage analog gear, so this find felt like a huge win. I assumed I could easily find the original RCA 2N2614 transistors online, but I was in for a surprise. Despite searching everywhere, including local repair shops and online auctions, I couldn’t track down a single one.

After six months of fruitless searching, my dad called with unexpected news: he had found the entire internals of the FZ-1A! We eagerly reassembled the pedal, only to discover that one of the pots was faulty, and one of the 2N2614 transistors wasn’t working. We were back to searching for that elusive part.

Introducing the CHZ-1: Fuzz Audio's Homage to the FZ-1A

After years of effort, we’re proud to introduce the CHZ-1 and CHZ-1A—our modern renditions of the Maestro Fuzz Tone. These pedals blend the vintage vibe with modern reliability. Designed with recording in mind, they offer reduced noise and a more refined tone. The CHZ-1 operates on both 9V power and battery, giving you the flexibility to capture that classic sag.

Each pedal is built to last, backed by a 10-year warranty, and features unique, hand-screen-printed graphics. The CHZ-1 is more than just a pedal; it’s the result of our journey, inspired by that dusty FZ-1A and the determination to bring it back to life.

An Old Fuzz Pedal and the Long Road to Restoration

Determined to finish the project, I resumed my search, calling every repair shop I could find. After several dead ends, I finally struck gold at a shop in Denver—Electric City Repair had the transistor we needed. With that final piece in place, we restored the fuzz pedal to its former glory, hearing its iconic tone for the first time.

This experience inspired the creation of Fuzz Audio. We realized how challenging it could be to source NOS parts and decided to make it easier for others. Over time, we built a network of contacts and assembled a significant collection of rare transistors, laying the foundation for what Fuzz Audio would become.

The post The Story of Fuzz Audio and the Maestro Fuzz Tone Pedal appeared first on Fuzz Audio.

How to Pick the Best 12AT7 Tube for Your Amplifier

FuzzAudio — Wed, 10 Jan 2024 07:04:22 +0000

The 12AT7 might not be the first tube you think of when determining which tubes to upgrade in your amp, but underestimating their importance is a huge mistake. 12AT7 tubes can control things like how rich your reverb or tremolo is, or define your amp’s headroom and distortion characteristics through the phase inverter (PI). Whether you’re a seasoned tone chaser or just embarking on your tube amp journey, selecting the right 12AT7 can make a world of difference in your rig’s overall sound and performance. In this guide, we’ll dive into the key factors to consider when choosing the best 12AT7 vacuum tube for your setup, helping you unlock the full potential of your amplifier and achieve the tone you’ve been dreaming of.

A Brief Overview of the 12AT7

The 12AT7 might not be the first tube you think of when determining which tubes to upgrade in your amp, but underestimating their importance is a huge mistake. 12AT7 tubes can control things like how rich your reverb or tremolo is, or define your amp’s headroom and distortion characteristics through the phase inverter (PI). Whether you’re a seasoned tone chaser or just embarking on your tube amp journey, selecting the right 12AT7 can make a world of difference in your rig’s overall sound and performance. In this guide, we’ll dive into the key factors to consider when choosing the best 12AT7 tube for your setup, helping you unlock the full potential of your amplifier and achieve the tone you’ve been dreaming of.

Determining the Role of Your 12AT7 Tube

A 12AT7 tube serves various critical roles in audio amplification circuits. As a reverb driver, it amplifies and shapes the reverb effect, determining its richness and character by controlling the echo’s size and warmth. In the phase inverter position, it converts a single-ended input signal into a balanced, phase-split output, essential for driving push-pull amplifier stages, improving power efficiency and reducing certain types of distortion. Additionally, as a gain stage tube, typically placed at the start of the signal chain, it amplifies weak electrical signals, preserving audio integrity, maximizing dynamic range, and contributing to cleaner and faithful audio reproduction, especially in high-fidelity applications where tonal balance and low noise are critical. Before we can say what 12AT7 is best, we need to know its function.

Unfortunately, there is no trick to discovering what your specific 12AT7/ECC81 is doing within your amp. Your best bet is to google your specific amp model and for mostly any major brands like Marshall, Fender, Vox, McIntosh, Marantz etc. you are likely to find your answer on a blog or website article. However, there are many amplifiers out there where this will not be the case and you may not be able to find a blog with the correct information. If this happens, you either need to find the schematic and investigate how the tube is being used in the circuit, or even experiment by removing the tube to see what happens. If all else fails give us an email at support@fuzzaudio.com and we can take a look at a schematic and help troubleshoot.

The Best 12AT7 for Reverb Drivers

A reverb driver tube in a guitar amp makes the reverb effect louder and sends it to the reverb tank, which is where the echo is created. Imagine it like this, when you pluck a guitar string, the tube takes that sound, makes it bigger, and then throws it into a room where it bounces off the walls to create an echo before it comes back to you. This echo is what you hear as reverb, and the tube helps decide how big and rich that echo sounds. This is why picking the right reverb driver is so important.

Great reverb is deep, wide, warm, and natural. So naturally, these are the qualities we look for when picking 12AT7 tubes for use as a reverb driver. Beyond tonal quality, reverb drivers need to be robust, strong, well built tubes. This is because reverb drivers operate under a relatively intense load, which can lead to tube failure over time if the tube is not of a high enough quality. Furthermore, because reverb drivers are somewhere in the preamp stage of the amp, a microphonic 12AT7 will ruin the sound of your amp.

1. RCA and GE 6201/12AT7 Black Plate

Because reverb drivers need warm, natural, robust sounding tubes we typically recommend vintage American made black plate 12AT7. You can read more about black plate tubes in our “Plate Cheat Sheet” but in short, black plate tubes are known for their deep, warm, natural tone so they are a perfect fit. There is only one catch with black plate tubes, if you are moving your amp around often black plate tubes, depending on type, can be sensitive to movement which can lead to failure. This is why top of the line black plate options like the RCA and GE 6201, with plate suspension rods, are superior to all other tubes ever made for driving reverb.

2. Vintage Telefunken and Mullard 12AT7/ECC81

After USA black plate tubes, vintage Telefunken and Mullard 12AT7 tubes are top choices for lush and warm reverb. With a vintage Telefunken 12AT7 you can expect a very similar sound to an American black plate tube, where you will sacrifice some depth and warmth for an extra low noise floor and a more forward reverb sound. Similarly, Mullard 12AT7 may lack warmth compared to the USA black plates, but what they lack in warmth they make up for in loudest and strength. If you think your device has weak sounding reverb, adding a Mullard 12AT7 will bring it back to life.

3. Vintage USA Made 12AT7

If the above tubes are out of budget or seem like overkill, pretty much any vintage US made 12AT7 will be fantastic in the reverb driver position. Many tube junkies might recommend tubes like the RCA black or grey plate 12AT7, and these are indeed great options, but so too are the equivalent examples made by GE, Sylvania, Tung-Sol and Raytheon. If you are stuck not knowing which of these many options to choose, we like Sylvania black plates and GE grey plates over more popular options like RCA and Tung-Sol for this application.

Choosing the Best 12AT7 Tube for Your Phase Inverter

A phase inverter tube serves to convert a single-ended input signal into a balanced, phase-split output. It essentially creates two signals, one that is in phase with the original input and another that is 180 degrees out of phase. This phase-splitting is crucial for driving push-pull amplifier stages, where each signal phase drives a separate set of power tubes. By doing so, it enables the efficient amplification of both halves of the audio waveform, improving power efficiency and reducing certain types of distortion. Additionally, because the phase inverter is still a gain stage tube, it plays a role in defining the overall tonal characteristics and dynamic response of the amplifier.

1. Vintage European 12AT7

European tube manufacturers are really good at producing tubes that are both durable and balanced, so it’s no surprise that brands like Amperex, Telefunken, Mullard, Mazda, Brimar, and Siemens lead the pack when it comes to picking the best tubes for your phase inverter. Phase inverters have the important job of splitting the signal into two parts, and that means the tubes have to be super strong and balanced to get it right. You won’t find any tubes tougher and more dependable than the ones made in Europe, because they’re all about that consistency. This dedication to quality is what puts European-made tubes in a league of their own, especially in high-precision tasks like phase inversion.

2. Sylvania and Philco 12AT7

For the discerning ear of a musician or audiophile, especially when budget is part of the equation, Sylvania and Philco 12AT7 tubes make amazing phase inverters. Unlike their European counterparts, which come with a premium price due to scarcity, these North American tubes are readily available and won’t stretch your finances. These American made tubes are known for their robustness and stability, which translates to reliable performance and quality sound from your amp. So if you’re looking to upgrade or replace your phase inverter and want to do it without significant expense, Sylvania and Philco tubes are a no-brainer! If you are looking for clarity and headroom go for grey plates, if you would like more warmth and a richer overdrive sound go with black plates!

3. RCA, GE & All Other US Brands

RCA is one of our top selling tubes for the phase inverter position, especially in Fender amps. They offer excellent warmth and clarity that can really help give your tube amp some depth and richness. But there is a catch with RCA tubes, they are rare and popular. Therefore, their price is inflated due to demand and scarcity. Are they great tubes and do they make excellent phase inverters… yes! Yet, on the other hand, Mullard and Mazda are supior options for the PI position and they are nearly the same price. Moreover, Sylvania/Philco options are cheaper and will do the job just as good, if not better as well. Beyond all that, brands like GE, Tung-Sol, Raytheon, and Westinghouse all make fantastic sounding options that are very comparable to RCA examples.

(Please note: this logic does not carry over to 12AX7 or other valves. This advice is specific to vintage made 12AT7. Vacuum tube manufacturers each had their stregths and weaknesses when it comes to making particular valves.)

4. Modern 12AT7

Just kidding… There is never any reason to by a modern 12AT7 tube when you can find a vintage 12AT7 for the same price. Try a vintage Japanese 12AT7 if you are still looking to explore reverb driver options.

Best 12AT7 for Gain Stage Tubes

Before delving into the best gain stage 12AT7 tube, it’s crucial to understand what a gain stage tube is and what it does. In essence, the preamp gain stage, typically placed at the start of the signal chain, amplifies a weak electrical signal and boosts it to a suitable strength for further processing through the remaining chain of tubes. This initial amplification is essential for preserving the integrity of the audio signal and ensuring that it can be effectively manipulated and shaped by subsequent components in the audio system, such as equalizers, compressors, and mixers. By adding the right tube at this stage we can control the character of the entire amp, like while maximizing the signal’s dynamic range, ultimately contributing to cleaner and more faithful audio reproduction.

• The Optimal 12AT7 for High-Fidelity Stereo Amplifier Gain Stages

It’s worth noting that while it’s not a common practice, the use of 12AT7 tubes in the gain stage preamp section of high-fidelity stereo amplifiers can have a significant impact on sound quality. European-made 12AT7 tubes are particularly recommended for these units because they excel in delivering the essential qualities required in high-fidelity audio systems. In the realm of hi-fi, where dynamic range, tonal balance, and low noise are paramount, the choice of the right tube can significantly influence the overall sound quality of the entire audio system. Vintage European valves stand out as the top choice for this application due to their ability to provide a broad dynamic range, tonal balance, articulation, and maintain an exceptionally low noise floor, ultimately contributing to a cleaner and more faithful audio reproduction..

• The Optimal 12AT7 for Guitar Amplifier Gain Stages

If you want to add headroom to your guitar amp or just trying to tame it out a bit, installing a 12AT7 in place of one of your 12AX7’s could make you fall in love with your amp all over again and ultimately save you hundreds in not having to buy a new amp just to get some clean tones. If you do decide to go down this route, and you want to add a 12AT7 into the gain stage of your amp, we recommend Vintage USA 12AT7 for the job. Specically, you want to try black plates for extra warmth and depth or grey plates for a little extra twang.

Why vintage USA tubes? In our opinion modern made 12AT7 sound shrill and have too shirt a life span to justify their price. While European 12AT7 on the other hand are just too sterile sounding. This leaves the natural warm and rich sounding American tubes as almost a no brainer choice for most guitar amp gain stage applications. Try brands like Tung-Sol, GE, Raytheon, and Westinghouse… an maybe you have heard before… RCA is pretty good too.

Conclusion

Selecting the ideal 12AT7 vacuum tube for your amplifier is a nuanced decision crucial to shaping your amp’s sound. Though less recognized than other tubes, the 12AT7 is essential, significantly influencing your amp’s tonal character. It plays a key role in enhancing reverb, defining headroom, and sharpening gain stages, unlocking your setup’s full sonic potential.

The 12AT7 is a core ingredient in your amplifier’s sound recipe. Each variant, from the deep-sounding vintage American black plate to the articulate European ECC81, endows your amp with a unique persona that resonates with your musical ambitions. This choice transcends compatibility, focusing on creating a signature sound that mirrors your style and desired sonic palette.

In reverb driving, the 12AT7 enriches the signal, adding dimension and presence, similar to an artist deepening a painting’s colors and textures. Vintage tubes offer not just exceptional sound but also reliability, especially under heavy use.

As a phase inverter, the 12AT7 balances and optimizes your amplifier stages, producing a sound that is both powerful and refined. In gain stages, the right 12AT7 brings a dynamic range that enlivens every note, distinguishing between mere loudness and a sound that truly resonates.

Your choice of 12AT7—be it a vintage black plate, a European classic, or a modern variant—will imprint your sound with distinct character, merging historical legacies with contemporary innovation. This decision is a deliberate step towards your amplifier’s tonal destiny, making the 12AT7 an integral part of your musical voice and a crucial component in your sound’s symphony.

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How Guitar Volume and Tone Control Knobs Work (Part 2)

FuzzAudio — Mon, 16 Aug 2021 18:52:19 +0000

HOW GUITAR VOLUME AND TONE CONTROL KNOBS WORK- Part 2

In this next part of our guitar knob (volume and tone controls) posts, we move on from talking about pickups and voltage to discussing potentiometers and capacitors, or pots and caps. In an electric guitar, these are incorporated into the guitar itself as components in the signal path between the pickup and the amplifier.

Pots are simply variable resistors. Capacitors have special filtering properties that make them critically important in tone controls. First, we will discuss how potentiometers work in general, followed by a discussion of how they work as volume controls.

Anatomy and Function of a Potentiometer

A three-terminal potentiometer (Figure 3) has two fixed terminals (labeled A and B), and a third terminal typically called a wiper (W) connected to the control knob via a rotating shaft. As the shaft turns, the wiper moves away from one fixed terminal, increasing the electrical resistance (higher resistance = less current flow) between the wiper and that terminal, while moving closer to the other terminal, which results in a decrease in resistance between the wiper and that second terminal.

Resistance Between Wipers and Fixed Terminals

Let’s now consider a 250, 000 ohm (250K) audio taper pot, a type commonly used in guitars, with the control knob set in three different positions. As the shaft is turned to the full 10 position on the control knob (fully clockwise viewed from the front of the guitar), the physical distance between W and B is reduced and the resistance between the two terminals essentially goes to zero. An electrical signal presented at W will therefore readily flow to any device attached to the B terminal. Conversely, the resistance between W and A will be high (250K to be exact), and a signal presented to W will have difficulty flowing to any device attached to A.

Potentiometer and Tone Control

In typical guitar wiring circuits, this type of pot is used for both volume and tone control (the actual ohm values of the pots vary with specific applications, although they are frequently the same for volume and control). Let’s put a couple of these 250K pots into a simple guitar wiring diagram that has one pickup, one volume control (V), and one tone control (T).

This wiring scheme is actually often used with vintage (1950s) Fender basses. (Note: In reality, the body of a pot is connected to ground. This is done in part as a convenient way to create a ground point and in part to reduce noise. In the first diagram below (Figure 5), we have not included this ground point in the interest of making it easy to visualize current flow through the circuit. In the second we have altered the diagram to illustrate the actual ground points).

Capacitor and Tone Control

Note that this diagram includes a capacitor (labeled .047) connected to the tone control. This is the magic component of the tone circuit. If you compare this diagram with that for other guitars, for example a typical Tele or Strat, it will appear to be much simpler. In principle, however, the electrical circuit is the same. The difference is that when additional pickups are added, a selector switch for the pickups is also added, making the circuit diagram appear more complicated than it really is.

Figure 6 shows a component layout that will look more familiar to those who have studied such diagrams in the past. The signal path is identical to that shown in Figure 5. The only difference is that the outer covers of the pots have been used as ground points. This is done both for convenience and noise reduction. We have included this figure in part to drive home the fact that the wiring schemes in guitars are typically much simpler than they appear at first glance.

Signal Path — Volume Pot to Amp

Now, let’s remove the tone control from the circuit so we can focus on how the volume control works (Figure 7). If you refer back to Figure 4, you will see that when the control knob is set at 10 (full volume), there is effectively zero resistance between the wiper (W) and terminal B, but high resistance between W and A, which means that a signal coming from the blue side of the pickup has a direct path to the amplifier with no resistance. On the other hand, if the knob is set to zero, there is high resistance between W and B, but no resistance between W and A. In this situation, the signal from the pickup is greatly attenuated between B and W. Moreover, any signal that does reach W from the B side of the pot will be thrown away because it can return to ground through the A terminal, preventing it from getting to the amp.

Looking for More Ways to Upgrade Your Guitar Tone?

Be sure to check out all of our Tone 101 blogs to learn more about how all the components of your guitar, amps and other gear can impact your tone quality.

In the meantime, if you’re looking for the best online audio store for tubes, vintage amps, and more, please be sure to visit our shop!

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The post How Guitar Volume and Tone Control Knobs Work (Part 2) appeared first on Fuzz Audio.

How Guitar Volume and Tone Controls Work

FuzzAudio — Mon, 26 Jul 2021 20:19:05 +0000

HOW GUITAR VOLUME AND TONE CONTROL KNOBS WORK- Part 1

We are going to post a couple articles wherein we discuss how guitar knobs work. The volume and tone controls overlap in terms of principles and electronic components, but there are some important differences. We will start by discussing volume and tone controls as implemented in guitar circuits. Then we will give some examples of how they work in amplifiers, where the basic principles are the same.

The Guitar Pickup

Let’s start this discussion with a simple reminder of what an electric guitar pickup does. In simplest terms, the vibrating metal string near a guitar pickup sets up an alternating (AC) voltage across the two leads of the pickup. Surprisingly, the nitty-gritty physics of how a guitar pickup does this is actually something of a debate. However, the basic idea behind how this happens is not a matter of debate. Namely, an electromagnetic field can be used to create a charge separation (voltage) in a wire that is moved through that field, which in turn can cause current to flow through the wire.

Of course, the converse is also true: a magnet moved near a wire will cause a charge to build up in the wire.

The basic guitar pickup contains magnets (the “pole” pieces) surrounded by a coil of wire. When a string vibrates rapidly near one of the magnets the fluctuations in the magnetic field create a charge in the windings of the coil. There is some debate over whether the role of the string is to create disturbances in the static magnetic field of the magnets or, instead, the string actually becomes magnetized from the magnets in the pickup, thereby becoming a moving magnet that in turn induces a charge across the coil. A third theory suggests the truth is somewhere in between.

Guitar Pickups & Voltage

An important point about terminology: In electrical circuits, current refers to the movement of charges, whereas voltage refers to the potential to create current. Current is analogous to the movement of water through a pipe. In this analogy, voltage is analogous to static water pressure. Voltage is therefore a form of potential energy, while current is the movement of charges through a conductor in response to that potential energy.

Although the abbreviation “AC” is literally derived from the term “alternating current” the abbreviation is also used to describe alternating charges (AC voltage) independent of current flow. Hence, for example, a vibrating string can set up an AC voltage across the terminal wires of a guitar pickup independent of how much current is flowing from that pickup to an amplifier.

AC voltage and current are often illustrated by a figure depicting a sine wave. The figure shown below shows two full cycles of AC voltage. As a comparison, the open G string on a guitar with standard tuning would generate 196 full AC cycles per second.

There is of course another form of voltage and current represented by the abbreviation “DC” (from direct current). DC voltage is the type presented to a circuit by a battery (for example). The polarity is constant. DC voltage and current are critically important in electronic devices, but it is not relevant to the immediate discussion. In a graph of the type shown in Fig. 2 DC voltage would be shown and a straight horizontal line.

Up Next: Potentiometers and Capacitors

In the next article, we’ll talk about potentiometers and capacitors as part of our “how guitar tone and volume controls work” series.

In the meantime, if you’re looking for the best online audio store for tubes, vintage amps, and more, please be sure to visit our shop!

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The post How Guitar Volume and Tone Controls Work appeared first on Fuzz Audio.

7 Important Upgrades You Should Make for Better Guitar Tone

FuzzAudio — Tue, 16 Mar 2021 07:27:01 +0000

7 Important Upgrades You Should Make for Better Guitar Tone

It is not always easy to know what you should change first in your search for “better” guitar tone. With so much information out there on tone wood, string gauge, pickups etc. deciding what to focus on first is challenging.

In an earlier article we described how guitar amplifiers are a critical component with respect guitar tone. Once you are happy with your amp, what other factors can help improve tone?

Here is Fuzz Audio’s list of most important upgrades you should make for better electric guitar tone (from less to most important):

7. Tone Wood

Although the wood your guitar (or amp) is made from can affect tone, it comes in last on our list, as it is generally a minor part of the overall picture when it comes to the final sound.

There is no doubt that different woods produce differences in sustain and timbre. All serious acoustic guitar players know this, but these differences in tonal qualities, for example differences in harmonics, make less difference when signals are moved through guitar pickups. Because pickups are not microphones, they respond much more to string movement that they do to vibrations in the body of the guitar.

Not only are tonal differences that results from different woods subtle but changing the wood on your guitar or amp would be a difficult and expensive upgrade. Best to keep your 62’ Tele all original and look for other things to improve.

6. Cables

Cables beat out tone wood by just a hair, in part because they are so easy to replace. Typically, changing a cable will not have much impact on tone, but a good cable can reduce unwanted noise and increase the clarity of your signal.

Our advice is to ignore expensive cables until you have completely nailed down your sound 100%, as cables will only “clean” up the tone you already have. On the other hand, do not ignore cable quality all together. A decent $10 cable with good reviews should be plenty good for most musicians. Darrell Braun Guitar has an excellent video on this subject that is worth a watch!

5. String/String Gauge

Every guitarist should experiment with strings, not only because they affect tone but also because they change the feel and touch of the guitar. How you attack the strings absolutely affects your sound. If you play with your amp at the edge of breakup you know this well, because when you play soft your amp stays clean and as you strum harder the amp with start to distort. Although string gauge does not change guitar tone a great deal by itself, changing how hard or easy your strings are to manipulate can have a large impact.

Strings make number 5 on the list because they are easy and cheap to experiment with, and you just might be shocked by the results. For more information on strings gauge, Rick Beato and Rhett Shull both have great videos on the subject.

Before We Continue…

This is the point on the list where making the right upgrade can really change your rig’s performance. We note that depending on your particular setup any of the next three upgrades could be the best move to make.

4. Tubes

One of the best decisions you can make when trying to improve tone is to upgrade the tubes in your amplifier. Not only can replacing tubes optimize your amp’s performance, tubes are one of the easiest upgrades to perform.

Tubes are responsible for taking the signal of pickups, which is both low and electronically simple, and not only boosting it to high volume but also shaping it’s tone. As a result vacuum tubes are directly responsible for much of and amps ”noise,” whether good or bad.

Music would be much different today if not for vacuum tubes. We all owe a great debt to these tubes and the engineers that developed and continue to develop tube guitar amplifiers.

Ultimately, tubes can control SOOOOO MANY parts of your tone that it would not be fun to list them all here. Would you like to add or take away low or high tones? Reduce or increase responsiveness? Change how loud your amp is? Change where your amp breaks up/distorts? All this and more can be accomplished by swapping out the tubes in your amp.

Here you can see our collection of vacuum tubes for sale. Reach out to us at Support@fuzzaudio.com today if you need help picking out a set.

3. Pickups/Tone Nob

There is just no getting around the effectiveness of guitar pickups at altering guitar tone. To take control of your sound, it is crucial to be aware of the types of pickups you use. The information on this subject is rich. Here are a few of our favorite video resources that go more in-depth about pickups and tone: “Single Coil vs P90 vs Humbucker,” and “5 Tips To Get Perfect Guitar Tone!!”,

The combination a guitar with a neck and bridge pickup, plus a tone nob gives you a huge variety of sounds available at your fingertips and is undeniably responsible for a large percent of your sound.

If you are comfortable doing basic guitar repairs, changing the pickups is one of the most significant things you can do to improve tone. This is particularly true if you have an otherwise very playable guitar, but the manufacturer has either scrimped on pickup quality or chosen pickups that don’t fit your playing style.

2. Speakers

It’s shocking just how much difference a good speaker can make a in an amplifier. If you are just starting to chase legendary tones, this is something that is certainly worth experimenting with.

Speakers and cabinets make number two on the list. Although they are able to quite drastically change your tone, they are a set it and forget it upgrade. They can, however, be tricky to change in some tube amp models.

Darrell Braun says speakers are “one most underrated upgrade a guitarist can make.”

Rick Beato, and That Pedal Show also have great videos on this subject.

If you are interested in learning more about speakers vs tone, Weber is another great resource, and we highly recommend their products.

1. Pedals

Pedals are hands down the best, most efficient way upgrade the sound of your rig. They can help shape tone in the ways mentioned above, and in addition you can get all kinds of new tones from fuzz to chorus to delay and synth sounds out of nowhere. Do not underestimate simple EQ pedals; they can work wonders for any guitar rig and are a must for serious tone junkies.

Conclusion

Not every guitar rig is the same, and it may not always be obvious what upgrade you should focus on first to improve your sound. To summarize:

It is best to avoid reaching for hi-end cables or place much emphasis on the type of wood your electric guitar or amp is made out from.
Experimenting with strings will help control the feel of your guitar, which in turn impacts tone.
Speakers, tubes, pedals and pickups should all be considered when trying to either improve or change tone.

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