ROUNDTABLE: The mini amp market

Back in April of 2013, MMR took a fairly in-depth look at the then-burgeoning field of mini/micro – or “lunchbox” – guitar amplifier heads that had become quite the rage over the previous few years.

At the time, many were still unsure whether this development was a momentary fad driven by the country’s economic downturn, by “fashion,” or whether these diminutive powerhouses were truly here to stay.

Three years later and this particular product segment is not just holding its market share, but growing further. Additional functionality, coupled with the portability and the comparatively reasonable price-points that made them a hit in the first place – plus the fact that more and more guitarists seem to be coming around to the fact that if you’re playing a 60-person capacity room fitted with a decent PA system, you don’t actually need a full-stack in order to be heard – are all boosting the appeal of micro-amps for both players and dealers.

We recently checked in with some of the biggest names in the mini amp sector – as well as some popular all-in-one “tiny combo” suppliers – to see what’s driving the market and what the future may hold…

What is it about these mini and “lunchbox” style amps that has given them such sustained – indeed, increased – popularity over the past decade or so?

James Garza: The mini amplifier or “lunch box” style amplifier has had continued success for several reasons. Some of the reasons include convenience, portability, feature set, versatility, price point, and sonic character. Today’s working guitarist is challenged with many aspects of recording and performing music. One of the main reasons I see the popularity mainstay of this category is simple: portability. A lunch box style amplifier can meet many of the demands of the working musician with an added bonus of convenience. Who likes carrying amplifiers? I can tell you, personally, that load-ins and load-outs were my least favorite part of being a performing musician. Lunch box or mini amps are like the Swiss Army knife of amplifiers. They can be used in studios, clubs, festivals, offices, bedrooms, or practically any application where you need an amplified guitar.

Pat Quilter: My theory about the rising popularity of mini amps relates to several trends in the guitar-playing community. First, it’s increasingly common to mic an amp or go direct-out to a stage console, so many players no longer need a super-loud amplifier. This especially applies for worship performances and small restaurants. Second, home recording has also become popular, so a small amp that can overdrive at reasonable volume levels is obviously useful. Third, small tube amps can be made at a lower cost and weight, thus overcoming some of the traditional complaints about high power tube heads. And, lastly, like pedals, a small amp is often affordable enough to buy as a novelty item, just to have fun and restore some zest to your playing.

Fred Poole: Portability and functionality continue to allow sustained growth in the mini head market. Always pushing the state of the art, Peavey’s new mini heads provide features not found on any other mini head in the market. Unique features such as USB and silent recording out, continue to drive the market forward. 

Armando Vega: While mini amp heads’ compact size may have initially led people to think of them as a fad, they have since earned sustained popularity, largely due to the fact that they represent a re-thinking of the conventional approach to guitar amplification. To me, it boils down to simplifying the life of a musician. With the increased use of amp and effect modeling, speaker simulation, software plugins, and other important new features, it’s super important for today’s head amps to remain lightweight, portable, versatile, customizable, and to enable musicians to get great sounds on the fly.

John Stippell: Size, tone, and price are the three things that immediately come to mind. The light weight and portability of the mini head is certainly attractive to many players, whether they be looking to add to their pallet of tone in the studio, or an easy, grab-and-go gigging solution. Because of their size, mini guitar heads are often much lower wattages than traditional tube amps, which means players can crank these amps up and get all of the natural overdrive, presence, and touch sensitivity of a tube amp at much lower volumes. A majority of these mini heads are also relatively easy on the wallet, so players now have the ability to add a few to their collection and have a variety of tonal options to choose from.

Mark Gooday: The convenient combination of high power and light weight has been the driving factor in the popularity for mini bass amps. While players love the tone of conventional bass amps, many feel that these big amps are just too much to carry to every gig or session. The recent increase in lightweight power has also helped these amps become more of realistic option. That being said, the smaller products don’t seem to have the staying power of the bigger, old-school amps and consumers may be finding this out. We are seeing a renewed interest in bigger amps, including tube amps, amongst players who have been disappointed with the performance of some mini amps. Bassists in loud bands, especially, still prefer a “real” amp.

Bob Imhoff: I can only speak for the some of the Kustom customers I have had discussions with. Besides the obvious small size appeal of these amps, the low output power dictates some favorable performance aspects. Meaning the ability to drive the power amp into soft clipping (Power Supply Sag) at a manageable output level. This is much different than adding more preamp gain and the end result is much sweeter, more controllable, dynamic sound. The amp becomes more of an instrument than a device to make things louder…

Rick Heins: The era of guitarists, whether they’re pros or weekend warriors, needing big, loud amps is a thing of the past. Modern PA systems and in-ear monitors make having smaller, lower powered amps that get great tone essential. Also, having a smaller amp that weighs considerably less helps makes the decision all the easier.

Joel Richardson: Guitarists don’t need huge volume on stage, so the low wattage is appealing. They are also portable and easy to take to the gig while being perfect for home use.

Douglas White: Yes, I will agree – our best-selling amps have always been the 20-watters. I believe it’s due to the balance of portability, cost, and performance. 20-watt amps are loud enough for rehearsal and small gigs and just sound great when they are cranked up. We’ve also had quite a lot of interest from our retailers in 5-watt amps, so we will be bringing a new amp to market in that category again. 

Austin Gibbons: Mini heads are generally low-wattage and are sold on the basis that they’ll give the player the full-throttle tone without having to get loud – mainly for recording or practice. It’s no different from low-wattage mini-combo amps but they give the player options to use different speakers. They’re affordable, and you can get into some prestigious brand names for not much cash, which a lot of players like. The ZT Lunchbox is different, though: it’s a high-power mini-combo amp that will power an external cabinet as well. People have seen that they really do work and solve a lot of very real issues for players. And when you have guys like Nels Cline, Lee Ranaldo, and Billy Gibbons (no relation) using our amps live, people take notice that it must be a serious thing to attract serious players.

If there are all these reasons why mini amps are a hit with many players, it begs the question: why haven’t they “always” been a significant niche segment of the amplifier market? What took so long?

JG: Why it took so long? One word: innovation. Sometime in late 2004, Orange’s amp designer Adrian Emsley – a.k.a. Uncle Ade – had an idea, or say a challenge, to design an amplifier that would fit on a standard size piece of A4 paper. In 2006, Ade’s design materialized in the form of a lunch box style amplifier called the Tiny Terror. The release of this amplifier created a brand new lunch box category that the music industry had never seen before. You can say that the rest is amplifier history.

AV: When it comes to clothing, style, and music, most musicians love to think “out of the box” and search for new and unique ways to create their own personal identity. It’s different with amps and guitars. Players historically have been late adopters and very traditionally minded when it came to gear choices. This has all changed in recent years, largely due to technological advances and the fact that everybody is comfortable using personal technology such as smart phones, mobile devices, computers, and social media. These new head amps offer so much power and versatility in a small package, incorporating technology that is easy to use, which is why they are growing in popularity today.

BI: Let’s face it: the current guitar market is struggling. Fewer customers are spending less money. These mini amps cost less while offering a different product than large amplifiers. There are pedals that cost more than some of these mini amps.

RH: Part of the answer is in my previous response: Better PA systems, smaller clubs, and in-ear monitors all contributed to the reduction in size and volume of amplifiers. In the late ‘60s/early ‘70s PA systems weren’t powerful enough for most venues and the need for guitarists to be heard over the band was paramount. That’s why amp companies kept increasing the size and wattage of their amps.

Guitarists are sometimes slow to change and were very comfortable with their louder gear. I really think it was the soundmen who kept asking guitarists to turn down as the PAs got louder which helped make that shift. We all know that tube amps need to be turned up to let the sound of the tubes come through and having a loud amp turned down low does not sound as good as when it’s cranked.

JS: I feel that the evolution of both live sound systems and home recording technology have the most to do with the development of this mini amp market. Many clubs and venues now have great-sounding equipment, and hopefully a knowledgeable and accommodating sound technician, so throwing a decent microphone in front of your 15-watt mini amp can get you through most any gig. Some of these mini heads offer additional luxuries like DI or speaker emulated line outs, allowing players to plug right into the board. This is often a welcome alternative for guitarists who have spent decades hauling stacks of cabinets and 100-watt heads to small clubs. Similarly, all of the incredible home recording technology that now exists is great for the mini amp market. The benefits of lower wattage and lower prices enables recording musicians to achieve a variety great sounding guitar tracks in their bedrooms or home studios with relative ease and without annoying their neighbors too much.

AG: I can’t say for sure – maybe we jumped the shark with all these enormous amps and finally realized that’s not what everyone needs. In our case, what we came out with in 2009 had a different approach and goals than most mini-heads, and it was a result of decades of design experience from ZT’s founder, Ken Kantor, who said “Everything else in audio has gotten smaller, lighter, and more reliable. Why can’t that happen with guitar amps too?”

MG: I think for bass, especially, the technology to make a capable and great-sounding mini amp just wasn’t available until very recently. When the mini bass head trend began, it was new and cool for dealers who suddenly had a new segment of the market to explore. They grew quickly because the sound is good enough for most players and the costs of production for manufacturers are much less than when building conventional bass amps. Not having to pay for big lumps of steel to support big transformers makes a big difference! Production, shipping, and storage costs all come down. Also, displaying these amps in stores is much easier for dealers and they can widen their offering a bit more because of this.

JR: Unless you are playing large venues, you don’t need the really big wattage. The tone from one of these mini amps is based on bigger heads, so you get a big sound from a small box.

FP: The amplifier market has shifted significantly since the days where A circuit touring bands blasted their full stacks night after night in venues all across the U.S. Many of those venues have disappeared, and the need for full stacks and 100W heads has disappeared with them. Mini heads allow the player to recreate that sound in a portable manner at bedroom and recording levels. Unique to Peavey’s all-tube mini heads is the ability to silently record to your smart device or laptop via USB, making the mini head the perfect recording tool.

What’s selling best for you in this category? What new or recent product introductions is your brand excited about?

AV: The latest in Yamaha Guitar amplification is our new THR-Head and Cabs. They offer an entirely new level of tone creation and customization that combines the natural, organic response and drive characteristics of Yamaha’s VCM modeling with an all-new power amp section that finally delivers real tube tone and dynamics from a digital power amp. THR-Head makes it easy to create, tweak and use amazing pro tones. It also offers switchable amp topology and tube types, tube output stage performance, incredible reverbs, VCM modeled selectable boost stages, and user loadable IR speaker simulators – all in a completely analogue amp interface. Nothing quite like it out there, at the moment. 

PQ: Those of you who have been following the Quilter saga will recognize that we have developed technology that offers full-size performance in a small, light package. Our big achievement is getting warm chewy tone with “no tubes required.” Our full-service combos have gained widespread recognition as great sounding amps that can meet or beat even the best boutique amps, but part of that tone recipe involves full-pro components and cabinet construction that keep the price somewhat above the range that most players can afford. Our streamlined heads offer the most innovative parts of our technology without the expense of a cabinet and speaker, and bring out new levels of performance from speakers you already own. With this approach we gained some new friends with the Tone Block 200, but our latest 101 Mini Head seems to have hit the target, with 50 watts of real power and some really nice tones, fully adjustable down to zero for quiet playing, in a sleek little 2-pound chassis that fits nicely in any bedroom or stage rig. It’s a great introduction to the “Quilter mojo” and a great primary or spare head.

MG: We are seeing great success with our Rootmaster line, which offers high powered, lightweight solutions for gigging bassists. Our new UK Built, 800-watt Retroglide has also been a big hit for us in the past year or so as well. Not to mention our CTM15, which is one of the few all-tube, mini bass heads on the market. At only 15 watts it is, of course, not so loud, but it’s got lots of tone

JG: Since the release of the Tiny Terror, Orange has been dedicated to designing amplifiers with different features and flavors to meet the needs of the guitarist. Following on the success of the Tiny Terror, Orange released a flurry of these lunch box amps that included the Dark Terror, Dual Terror, and the signature #4 Jim Root model. Staying true to values and tradition of innovation, Orange then released a new micro format lunch box amplifier called the Micro Terror. And just this last October, Orange released its newest micro format head called the Micro Dark. I once heard someone ask Ade, “What’s the hardest thing about designing amplifiers?” His answer was, “Making them better.”

JS: VOX Amplification was actually one of the early adopters of the mini-head, with our first Night Train debuting in 2009. Being that VOX has a long-seated history in what are often considered low wattage amps with the AC4, AC10, and AC15, it was only natural for VOX to offer a mini amp. Night Train was a big hit for us, for all of the aforementioned positives about mini amps, but namely for the great tone it offered. We’ve since released the second generation of our Night Train series, which offered a bit more in the way of tonal flexibility and a great sounding reverb. The Night Train 15 G2 remains one of our best-selling amplifiers to this day and has become a go-to amplifier for many guitarists seeking a mini head.

AG: The Lunchbox is still our most popular product; people are really drawn to an amp that’s built for the gigging musician without frills or compromises. We have a few new products we’re planning to release that I’m really excited about, but we’re not announcing anything yet.

RH: We have done very well with our Super Champ X2 heads in this category for the past few years and we’re releasing the Bassbreaker 007 and 15 heads in the next couple of months. Both of the Bassbreakers pack a lot of tone and flexibility in their smaller size and are perfect for smaller venues, home recording and practice. The Bassbreaker 15 even comes with a built in XLR out with cabinet emulation for silent recording to make it more versatile for home recording.

BI: Our Defender 5H and Defender 15H heads continue to gain momentum. So much that we have developed Hot Rodded versions of these two popular models. The new models are exactly as advertised. Our Marketing team sent some stock amps to a known amp tweaker/designer who put his spin on the designs. We are going to offer these “Hot Rodded” versions to the public in the next 60 days. We’re very excited about it.

DW: We just recently released our new Custom 22, which I am super excited about and seems to be garnering some interest from guitarists. It shares similar traits as our earlier amps in terms of construction qualities and feature set, but we’ve updated a few things including the amp’s voice. Also as mentioned we have a new 5-watt amp in development, which should be simple and fun. 

FP: Demand for the new 6505 MH has tripled our expectations. Capturing the sound of the legendary 6505 in a compact format was challenging, but once the market understood that is exactly what we did, sales have exceeded our wildest expectations. Our new mini heads currently set the bar for features/price. Peavey intends to continue to innovate, providing new and useful features to our loyal customers. 

JR: The HT-5 really put Blackstar on the map and remains to be one of our best-selling amps. It really caught the imagination of guitar players. tube tone in a small box that’s amazing to record with. It ticks all the boxes.

Are there any larger trends you’ve noticed with respect to mini amps or “lunchbox” amp heads”

MG: While the amps keep getting better and better, mini amps still seem to have a bit less of everything you can expect from a conventional amp, with only one or two exceptions on the current market. The mini amps are generally more price based and therefore often omits the features and true power that many players expect. I also find that mini amps have a harder time holding on to dynamics and feel of a conventional amp. Honestly, I can see a time where bigger amps will make a bit of a comeback in order to remedy some of the aforementioned shortcomings of the mini amps. Our ABM line has always been the flagship product of the brand and continues to sell well throughout the world, although we do manufacture quite a bit of mini amps as well.

JS: The biggest trend I see, and it is perhaps the same reason this article exists, is that there are seemingly more and more mini heads on the market every time I look. It has become a product that an amp company has to offer to stay competitive in the current market. There are now a variety of mini heads at higher price points and high wattages as well, which tells me that a low-profile and easily transportable amp is something that all kinds of players are attracted to, regardless of genre or budget. It seems like this trend is true throughout our industry, whether it be guitar pedals, drum kits, or synthesizers – small is the new big.

DW: Not really. I think I wouldn’t call it a trend anymore, it’s more like an established part of the overall amp market with a lot of possibilities. If anything I suppose direct-recording outputs are becoming more prevalent. 

RH: I just think that there are so many options these days that, whatever your budget or playing style, there is an amp out there for you. These days I do think it’s about the amp’s flexibility, but tone is still the biggest factor.

JG: The largest trend I see for the amplifier category regarding consumers is portability and price point. That’s where these types of amplifiers deliver. Our newest Micro Dark head streets for $189, and when combined with a 4×12 cab with your eyes closed, you can easily be fooled that it’s a full size 100-watt stack screaming back at you. Dealers appreciate these amps due to their versatile compact footprint. Everyone looking for a guitar amplifier becomes a potential customer.

BI: We see blogs, and forums from players and enthusiasts who like to play around with the amps – meaning changing component values to obtain different and/or unique tones. Although we do not recommend or encourage non-qualified persons to open their amp and start “messing around,” it does happen a lot. It’s something like a Heath Kit project with no instructions (Heath Kit reference intended for your older readers). I got it. Oh, wait… – Ed.

JR: Even smaller wattage. We also designed the HT-1, which is 1-watt, tube. This also remains a strong seller for Blackstar.

PQ: Price is a huge problem in today’s market. Musicians are getting the same pay they did 50 years ago, with everything else being much more expensive. In the past, “serious” amps needed to have enough power to fill a club, which meant they were big and heavy, especially with tube technology. Small amps were built down to a low price point with major compromises in tone and quality that made them unsuitable for serious players. Now, I think that manufacturers are seeing micro-amps as an opportunity to make good-sounding low-power amps at a reasonable price with good tone and professional materials. But the low power still limits where you can really use these amps.

AV: The hot trend is in small, lightweight, flexible amp heads with multi-tasking capabilities (the ability to practice, record, play along with music). The next big buzz will come from cabinet-free solutions for the live performance world, as well as re-amping advantages in the recording world. As time goes on, these two things will fundamentally change the amp world. End-user and dealer interest is very high, because the products are in demand and just make everything in life easier. 

AG: The trend seems to be toward more boutique amps built for the home – so low-power – and either very bare controls or a whole array of effects, but not much in between. ZT doesn’t fit into this because we focus mostly on gear for pros, which means simple, minimalist controls and effects, but a lot more power and durability for use on stage and touring.

Expectations for the future of these types of amps?

AV: Much like the current ukulele craze, mini head amps represent a growing trend because they are light, easy, fun, and, of course, convenient. Going back to huge stage amps and practice amps will be a thing of the past and I’m not convinced that musicians, for the most part, will ever go back to huge stacks. The evolution of this type of product will always be based on sonic improvements and cosmetics. That is a constant in tech products. The other refinements will be centered around connectivity with mobile devices and applications.

JS: I suspect that the mini-amp category with continue to grow steadily and eventually overtake the “traditional” head and cabinet market. For most applications, the mini amps are far more convenient than larger amps and sound every bit as good, if not better, than some of the big amps guitarists have been lugging around for years. I expect to see smaller manufacturers begin to offer smaller matching cabinets to accompany their more popular mini amps as well, if they aren’t already, to really complete the “mini-rig”. As engineering continues to advance and the amps get more powerful and flexible, there’s really no telling when, and if, the mini amp craze will diminish.

RH: I don’t see smaller, quieter amps going away anytime soon because there will always be bedroom players or players that need great tone at lower volumes. I just don’t think that modern players unless they’re playing large venues will ever need to go back to amps that have to shake walls to get good tone.

BI: Not quite sure. We believe the trend will continue for a while longer for sure. How long would be hard to say.

JR: I think this will continue. Our new ID:Core practice amps are incredibly popular with beginner and experienced players. That’s why we made the 40-watt into a mini head. We have product plans for future products so watch this space.

AG: I think they’re here to stay. There hasn’t been any indication that they’re losing steam. The Lunchbox is an outlier here due to the power and usage, but I see the acceptance and enthusiasm for our products since we launched six years ago as evidence that we’re here to stay as well.

FP: Since Peavey has lead the way, providing a premium all-tube mini head with modern features at an affordable price, more and more players will step into the mini head market.

JG: Unless all working guitarists can have a crew and are playing festivals, I don’t see consumers changing their tune on small portable amplifiers. As trends and flavors of the month come and go, what continues to be constant is quality of design. This is especially true when designers have the guitarist or musician as the focal point.

DW: Well, I really like them. They’re fun, and allow players to have some different amps in their collection without spending a whole lot. So I’d expect to see more of them. Thanks for asking us to participate in this, it’s much appreciated. 

MG: They will certainly continue to have their place, just as hybrid amps have their place, and tube amps will always have their audience as well. They will continue to sell and appeal to some segments of the market for many of the reasons we’ve covered. It’s our job to work harder and harder to engineer them better and better so they can compete with, not only all of the other mini amps on the market, but all of the bass amps that have come before the mini amp trend.