tonal difference between 4 & 16 ohms?

Fragle

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Jul 27, 2005
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just wondering if there is any difference between running a guitar head into a 4 ohm cab, or into the same cab at a 16 ohm setting (marshall 1960 for example).

i used to think it didn't make any real difference, but recently i worked at a live show and the soundguy told me to hook up the triple rectifier into 2 marshall cabs @ 4 ohm (as the triple can deal with 2 ohms) rather than @ 16 ohm. apparently it sounds fatter this way.

any thoughts on that?
 
The more ohms, the more of the output transformers coil that is in use.
I vaguely remember from my amp building days that the more of the coil is used, the more of the transformers "color" affects the signal.

If im remembering it correctly, apparently Leo Fender preferred 4 ohms because it sounded 'cleaner', while Marshal preferred 16 ohms because it used the whole transformer.

I could be completely wrong though.
 
I did a listening test with my Blackstar cab at 4 and 16 ohms once.

There's a subtle difference, but it's definitely there. Even my girlfriend noticed it when I asked her to have a listen.
I found that at 4 ohms the bass was tighter, and at 16 ohms it was looser, but in a nice way, the low end just seemed to push a bit more.

It's certainly not going to make or break your guitar tone though.
 
I've always noticed more break-up @ 16 and more low end response @ 4. I usually go with 8 to keep it right down the middle. :p
 
Trevoire, your description goes 100% against how speakers and ohms work. A speaker at 16ohms is not going to push more low end than the same one running at 8 or 4ohm, it just doesn't work that way. With my experience installing subwoofer systems in cars for a couple of years at a shop, the lower ohms you are running at the more low end you are going to get. For example, we would drop a 4ohm speaker to 2ohm specifically so that we could get more bass out of it. With my experience regarding speakers for guitar, 16ohm is usually the tightest sounding, 4ohm being the bassiest (big surprise) and 8ohm being middle-ground - exactly how car subs work, speakers are speakers, ones for guitar amp use are not special.
 
There's a lot of topics about this throughout the INTERNET, but it seems that having the speakers wired in series or parallel has the largest impact. I've experimented with running different speaker loads and even mismatching and there are some noticeable changes in the sound, but unfortunately i didn't really keep track of the results. It seems to affect some amps more than others, my ampeg vl-1002 seems very sensitive to every little thing connected to it (speakers/tubes/pickups/etc...) while other amps seem to sound mostly the same with differing setups.

I have two 8 Ohm speakers that I can wire either parallel or series to my tube amp for an impedance of either 4 or 16 Ohm. My amp has both 4 and 16 Ohm output taps. Are there any sonic differences or benefits of series over parallel wiring or vice versa?

Gerald, connecting two speakers in parallel is an old trick to smooth out speaker response and enhance the damping of either speaker. HIFI designers took it one step further by connecting two speakers of different sizes in parallel. A speaker has a large impedance increase at its fundamental resonance, and depending on the installation, this can cause the speaker to sound boomy or out of control. By connecting two speakers in parallel, particularly two speakers of different sizes with different resonant frequencies, each speaker will tend to quench or dampen the boominess of the other. Since no two speakers are exactly alike, even two of the same size, that damping will occur, however slight, for any speakers connected in parallel. For speakers connected in series, there appears to be less control, and more of what is called 'back EMF' from the speakers fed back into the output circuit. While that seems rather chaotic, many players prefer the series connection, as it gives them a more textured tone, enhanced breakup, and overall a more desireable tone for guitar work. It's totally subjective, of course, and many factors affect the end result, such as voice coil size, gap energy, closed back/open back, output circuit damping, etc. The best thing to do, in my opinion, is try both arrangements since you have the luxury of impedance tap selection, and go with the configuration you like the best.

- http://www.webervst.com/sptalk.html

Damping, Damping Factor
Context: That amp had a very high Damping Factor.
Description: One of the dictionary definitions of the word damp is to deaden a shock. In other words, a device or method is used to stop vibrations or oscillations caused by mechanical shock. In the case of your automobile, the shock absorbers deaden the oscillations of the suspension system in order to make the ride more comfortable and improve handling. Damping is also very important in loudspeakers. Quite simply, if the speaker system consisting of the voice coil, the cone, and the spider was allowed to vibrate freely without any kind of damping, it would be very difficult to achieve any kind of recognizable or useable acoustic signal from it. We want to be able to blast the speaker with a big signal, have it respond, then stop vibrating almost instantly when we remove our signal. Ok, so how do we do it? Strangely enough, since the voice coil is always immersed in a fixed magnetic field, it acts as a part time motor, part time generator. When you drive the loudspeaker with a signal from the amp, it causes the voice coil to move in the magnet field and then impart its movement on the cone to produce the acoustic signal. But, as soon as the signal from the amp goes away, the cone and voice coil start to fall back to the resting, or no-signal position. As the voice coil is moving back 'home', the windings of the coil cut across magnetic lines of force in that fixed magnetic field and the result is that a voltage is developed in the voice coil. It has now changed operation from a motor to a generator. The generated voltage is called back EMF, or flyback, and is fed back up the line into the amp and appears in the output circuit. This voltage would continue to be generated until the cone stopped vibrating and finally came to a rest at its home position. One way to stop the oscillations is to make it difficult for them to occur. The easiest way is to put a big load on the voice coil when it is in its generating mode of operation. Ever notice when you turn on the rear defogger in your car, the engine idle RPM goes down slightly? That's because the defogger requires quite a bit of current to operate so the load it puts on the alternator makes it more difficult for the engine to turn the alternator. You can take any simple permanent magnet motor, such as that used on a slot car or other toy car, and after temporarily shorting the terminals together, you'll notice it is more difficult to spin than with the terminals open circuit. This is electrical damping. With a typical guitar amp, although you always use the correct speaker impedance load as suggested by the manufacturer, as an AC signal power amplifier, or simply, an AC power supply, it has an internal source impedance that is lower than the impedance rating of the speaker connected to it. The ratio of this internal source impedance to the suggested speaker load impedance is called the Damping Factor, and is usually at least 5 or higher. The higher the number, the better, generally, and is a measure of how well the output circuit will quench or stall the oscillations in the speaker by providing a big electrical load to them during the time the voice coil is acting like a generator. Of course, the resulting electrical power doesn't just disappear, it ends up in the output circuit of the amp where it is dissipated as heat. It's odd to think of the output tubes acting as a dummy load for this flyback power, but that's how it works. Output tube bias, transformer turns ratio, and wire sizes all affect the damping to some degree. Sometimes those flyback voltages from the voice coil we spoke of earlier can get quite large. If you ever see a schematic of a guitar amp and notice the designer has installed solid state diodes between the plates of the output tubes and ground, it is to help quench those flyback voltage spikes.

- http://www.webervst.com/spterm.html#damp
 
Trevoire, your description goes 100% against how speakers and ohms work. A speaker at 16ohms is not going to push more low end than the same one running at 8 or 4ohm, it just doesn't work that way. With my experience installing subwoofer systems in cars for a couple of years at a shop, the lower ohms you are running at the more low end you are going to get. For example, we would drop a 4ohm speaker to 2ohm specifically so that we could get more bass out of it. With my experience regarding speakers for guitar, 16ohm is usually the tightest sounding, 4ohm being the bassiest (big surprise) and 8ohm being middle-ground - exactly how car subs work, speakers are speakers, ones for guitar amp use are not special.

Chill dude, was just sharing my personal experience.
 
Chill dude, was just sharing my personal experience.

I'm chill... didn't realize what I wrote could be read as me being worked-up. :loco: I was just explaining why your experience is polar opposite from the well-known physics of how speakers work, that's all.