What is the name of the balcony of the church where a choir sits?

What are the lyrics to Into the Woods?

Narrator: Once upon a time-- Cinderella: I wish... Narrator (NA): --in a far-off kingdom-- Cinderella: More than anything... NA: --lived a young maiden-- Cinderella: More than life... NA: --a sad young lad-- Cinderella: More than jewels... Jack: I wish... NA: --and a childless baker-- Jack: More than life... Cinderella, Baker: I wish... NA: --with his wife. Jack: More than anything... Cinderella, Baker, Jack: More than the moon... Wife: I wish.. Cinderella: the King is giving a Festival. Baker, Wife: More than life.. Jack: I wish.. Cinderella: I wish to go to the Festival-- Baker, Wife: More than riches.. Cinderella: --and the Ball.. Jack: I wish my cow would give us some milk. Cinderella, Wife: More than anything.. Baker: I wish we had a child. Jack (to cow): Please, pal-- Wife: I want a child.. Jack: Squeeze, pal.. Cinderella: I wish to go to the Festival. Jack (Overlapping): I wish you'd give us some milk Or even cheese.. Baker, Wife (Overlapping): I wish we might have a child. All Four: I wish.. Stepmother (to Cinderella): You wish to go to the Festival? NA: The poor girl's mother had died-- Stepmother: You, Cinderella, the Festival? You wish to go to the Festival? Florinda (Over): What, you, Cinderella, the Festival? The Festival?! Lucinda (Over): What, you wish to go to the Festival?! All Three: The Festival?! The King's Festival!!!??? NA: --and her father had taken for his new wife-- Stepmother: The Festival!!!??? NA: --a woman with two daughters of her own. Florinda: Look at your nails! Lucinda: Look at your dress! Stepmother: People would laugh at you-- Cinderella: Nevertheless-- Cinderella: Stepsisters: Stepmother: I still wish to go You still wish to go She still wants to go To the Festival. To the Festival-- To the Festival-- Stepsisters, Stepmother: --and dance before the Prince?! (They chortle with laughter musically, then fall about out of control.) NA: All three were beautiful of face, but vile and black of heart. Jack, on the other hand, had no father, and his mother-- Jack's Mother: I wish.. NA: Well, she was not quite beautiful-- Jack's Mother: I wish my son were not a fool. I wish my house was not a mess. I wish the cow was full of milk. I wish the walls were full of gold-- I wish a lot of things.. (to Jack) You foolish child! What in heaven's name are you doing with the cow inside the house? Jack: A warm environment might be just what Milky White needs to produce his milk. Jack's Mother: It's a she! How many times do I have to tell you? Only "she"s can give milk. [Two knocks on the Baker's door; Wife opens door; it is Little Red Riding Hood (LRRH)] Wife: Why, come in, little girl. LRRH: I wish.. It's not for me, It's for my granny in the woods. A loaf of bread, please-- To bring my poor old hungry Granny in the woods.. [Insistent] Just a loaf of bread, please.. [Baker gives her a loaf of bread.] NA: Cinderella's stepmother had a surprise for her. [Stepmother throws a pot of lentils into the fireplace] Stepmother: I have emptied a pot of lentils into the ashes for you. If you have picked them out again in two hours' time, you shall go to the Ball with us. LRRH: And perhaps a sticky bun?.. Or four?.. Cinderella: Birds in the sky, Birds in the eaves, In the leaves, In the fields, In the castles and ponds.. LRRH: ..and a few of those pies, Please.. Cinderella (Over): Come, little birds, Down from the eaves And the leaves, Over fields, Out of castles and ponds.. Jack: No, Squeeze, pal.. Cinderella (falling into a trance): Ahhh.. [birds descend to the fireplace] Quick, little birds, Flick through the ashes. Pick and peck, but swiftly, Sift through the ashes Into the pot.. Jack's Mother: Listen well, son. Milky-White must be taken to market. Jack: But, Mother, no--he's the best cow-- Jack's Mother: Was. Was! SHE'S been dry for a week. We've no food nor money, and no choice but to sell her while she can still command a price. Jack: But Milky-White is my best friend in the whole world! Jack's Mother: Look at her! There are bugs on her dugs. There are flies in her eyes. There's a lump on her rump Big enough to be a hump-- Jack: But-- Jack's Mother: Son, We've no time to sit and dither, While her withers wither with her-- And no one keeps a cow for a friend! Sometimes I fear you're touched. [LRRH has been compulsively eating sweets at the Baker's house; she now swallows, wiping her hands and mouth.] LRRH: Into the woods, It's time to go, I hate to leave, I have to, though. Into the woods-- It's time, and so I must begin my journey. Into the woods And through the trees to where I am Expected, ma'am, Into the woods to Grandmother's house-- [mouth full] Into the woods To Grandmother's house-- Wife: You're certain of your way? LRRH: The way is clear, The light is good, I have no fear, Nor no one should. The woods are just trees, The trees are just wood. I sort of hate to ask it, But do you have a basket? Baker: Don't stray and be late. Wife: And save some of those sweets for Granny! LRRH: Into the woods And down the dell, The path is straight, I know it well. Into the woods, And who can tell What's waiting on the journey? Into the woods To bring some bread To Granny who Is sick in bed. Never can tell What lies ahead. For all that I know, She's already dead. But into the woods, into the woods, Into the woods to Grandmother's house And home before dark! Cinderella: Fly, birds, Back to the sky, Back to the eaves And the leaves And the fields And the-- Florinda: Hurry up and do my hair, Cinderella! [to Lucinda] Are you really wearing that? Lucinda: Here, I found a little tear, Cinderella! [to Florinda] Can't you hide it with a hat? Cinderella: You look beautiful. Florinda: I know. Lucinda: She means me. Florinda [to Cinderella]: Put it in a twist. Lucinda: Who will be there?.. [She and Florinda continue babbling underneath.] Cinderella [to herself]: Mother said be good, Father said be nice, That was always their advice. So be nice, Cinderella, Good, Cinderella, Nice good good nice-- Florinda: Tighter! Cinderella: What's the good of being good If everyone is blind And you're always left behind? Never mind, Cinderella, Kind Cinderella-- [accenting each word with a twist of a strand of hair] Nice good good kind good nice-- Florinda [screams and slaps Cinderella]: Not that tight! Cinderella: Sorry. Florinda: Clod. Lucinda: Hee he hee-- [Florinda glares at her] hee hee-- [stops] NA: Because the baker had lost his mother and father in a baking accident-- well, at least that is what he believed--he was eager to have a family of his own, and concerned that all efforts until now had failed. [Knock on Baker's door] Baker: Who might that be? Wife: We have sold our last loaf of bread.. Baker: It's the witch from next door! [Witch enters] Wife, Baker: We have no bread. Witch: Of course you have no bread! Baker: What do you wish? Witch: It's not what I wish. It's what you wish. (Points to Wife's belly) Nothing cooking in there now, is there? NA: The old enchantress went on to tell the couple that she had placed a spell on their house. Baker: What spell? Witch: In the past, when you were no more than a babe, your father brought his young wife and you to this cottage. They were a handsome couple, but not handsome neighbors. You see, your mother was with child and she had developed an unusual appetite. She took one look at my beautiful garden, and told your father that what she wanted, more than anything in the world, was Greens, greens, and nothing but greens: Parsley, peppers, cabbages and celery, Asparagus and watercress and Fiddleferns and lettuce--! He said 'all right,' But it wasn't, quite, 'Cause I caught him in the autumn In my garden one night! He was robbing me, Raping me, Rooting through my rutabaga, Raiding my arugula and Ripping up the rampion (My champion! My favorite!)-- I should have laid a spell on him right there. Could have turned him into stone, Or a dog, or a chair, Or a sn-- [drifts off into a momentary trance] But I let him have the rampion, I'd lots to spare. In return, however, I said 'Fair is fair; You can let me have the baby That your wife will bear. And we'll call it square.' Baker: I had a brother? Witch: No. But you had a sister. NA: But the witch refused to tell him any more of his sister. Not even that her name was Rapunzel. She went on: Witch: I thought I had been more than reasonable, and that we all might live happily ever after. But how was I to know what your father had also hid in his pocket?! You see, when I had inherited that garden, my mother had warned me that I would be punished if I ever were to lose any of the Beans. Baker, Wife: Beans? Witch: The SPECIAL beans. I let him go, I didn't know He'd stolen my beans! I was watching him crawl Back over the wall--! And then bang! Crash! And the lightning flash! And--well, that's another story, Never mind-- Anyway, at last The big day came And I made my claim. "Oh, don't take away the baby," They shrieked and screeched, But I did, And I hid her Where she'll never be reached. And your father cried, And your mother died When for extra measure-- I admit it was a pleasure-- I said, "Sorry, I'm still not mollified." And I laid a little spell on them. You too, son. That your family tree would always be a barren one... [laughs] So there's no more fuss And there's no more scenes And my garden thrives-- You should see my nectarines! But I'm telling you the same I tell Kings and Queens: Don't ever never ever Mess around with my greens! Especially the beans. Jack's Mother: Now listen to me, Jack. Lead Milky-White to market and fetch the best price you can. Take no less than five pounds. Are you listening to me? Jack: Yes. Jack's Mother: Now how much are you to ask? Jack: No more than five pounds. [she pinches his ear] Jack's mother, Jack: Less! Than five. Jack's Mother: Jack Jack Jack, Head in a sack, The house is getting colder, This is not a time for dreaming. Chimney-stack Starting to crack, The mice are getting bolder, The floor's gone slack. Your mother's getting older, Your father's not back, And you can't just sit here dreaming pretty dreams. To wish and wait From day to day Will never keep The wolves away. So into the woods, The time is now. We have to live, I don't care how. Into the woods To sell the cow. You must begin the journey. Straight through the woods And don't delay-- We have to face The marketplace. Into the woods to journey's end-- Jack: Into the woods to sell a friend-- Jack's Mother: Someday you'll have a real pet, Jack. Jack: A piggy? [Mother shakes her head in disbelief] NA: Meanwhile, the witch, for purposes of her own, explained how the baker might lift the spell: Witch: You wish to have The curse reversed? I'll need a certain Potion first. Go to the wood and bring me back: One: the cow as white as milk, Two: the cape as red as blood, Three: the hair as yellow as corn, Four: the slipper as pure as gold. Bring me these before the chime Of midnight In three days' time, And you shall have, I guarantee, A child as perfect As child can be. Go to the wood! [disappears] Stepmother: Ladies, our carriage waits. Cinderella: Now may I go to the Festival? Stepmother: The Festival? Darling, those nails! Darling, those clothes! Lentils are one thing but Darling, with those, You'd make us the fools of the Festival And mortify the Prince! Cinderella's Father: The carriage is waiting. Stepmother: We must be gone. [they exit with a flourish] Cinderella: Good night, Father. [he grunts and exits] I wish... [cries] Baker: Look what I found in Father's hunting jacket. Wife: Six beans. Baker: I wonder if they are the-- Wife: Witch's beans? We'll take them with us. Baker: No! You are not coming. Wife: I know you are fearful of the woods at night. Baker: The spell is on MY house. Only I can lift the spell, The spell is on MY house. Wife [over]: No, no, the spell is on OUR house. We must lift the spell together, The spell is on OUR house. Baker [Over]: No. You are not to come and that is final. Now, what am I to return with? Wife [Annoyed]: You don't remember? The cow as white as milk, The cape as red as blood, The hair as yellow as corn, The slipper as pure as gold-- Baker [memorizing]: The cow as white as milk, The cape as red as blood, The hair as yellow as corn, The slipper as pure as gold... NA [Over]: And so the baker, reluctantly, set off to meet the enchantress's demands. As for Cinderella: Cinderella: I still wish to go to the Festival, But how am I ever to get to the Festival? Baker [simultaneously]: The cow as white as milk, The cape as red as blood, The hair as yellow as corn-- Wife: the slipper-- Baker: The slipper as pure as gold... Cinderella [Over]: I know! I'll visit Mother's grave, The grave at the hazel tree, And tell her I just want to Go to the King's Festival... Baker: The cow, the cape, The slipper as pure as gold-- Wife: The hair--! Baker, Cinderella: Into the woods, It's time to go, It may be all In vain, you (I) know. Into the woods-- But even so, I have to take the journey. Baker, Cinderella, Wife: Into the woods, The path is straight, You (I) know it well, But who can tell--? Baker, Wife: Into the woods to lift the spell-- Cinderella: Into the woods to visit Mother-- Wife: Into the woods to fetch the things-- Baker: To make the potion-- Cinderella: To go to the Festival-- Baker, Wife, Cinderella, Jack, Jack's Mother: Into the woods Without regret, The choice is made, The task is set. Into the woods, But not forget- Ting why I'm (you're) on the journey. Into the woods To get my (our) wish, I don't care how, The time is now. Jack's Mother: Into the woods to sell the cow-- Jack: Into the woods to get the money-- Wife: Into the woods to lift the spell- Baker: To make the potion-- Cinderella: To go too the Festival-- LRRH: Into the woods to Grandmother's house... Into the woods to Grandmother's house... All: The way is clear, The light is good, I have ho fear, Nor no one should. the woods are just trees, The trees are just wood. No need to be afraid there-- Baker, Cinderella: There's something in the glade there... All: Into the woods Without delay, But careful not To lose the way. Into the woods, Who knows what may Be lurking on the journey? Into the woods To get the thing That makes it worth The journeying. Into the woods-- Stepmother, stepsisters: To see the King-- Jack, Jack's Mother: To sell the cow-- Baker, Wife: To make the potion-- All: To see- To sell- To get-- To bring-- To make-- To lift-- To go to the Festival--! Into the woods! Into the woods! Into the woods, Then out of the woods, And home before dark!Cinderella At the Grave [ Top ] Cinderella: I've been good and I've been kind, Mother, Doing only what I learned from you. Why, then, am I left behind, Mother, Is there something more that I should do? What is wrong with me Mother? Something must be wrong! I wish.. Mother: Do you know what you wish? Are you certain what you wish is what you want? If you know what you want, then make a wish. Ask the tree, And you shall have your wish. Cinderella: Shimmer and glimmer, little tree. Silver and gold throw down on me. I'm off to get my wish!Hello, Little Girl [ Top ] Wolf: Mmmh.. Unhh... Look at that flesh, pink and plump. Hello, little girl... Tender and fresh, not one lump. Hello, little girl... This one's especially lush, Delicious... Mmmh... Hello, little girl, what's your rush? You're missing all the flowers. The sun won't set for hours, Take your time. LRRH: Mother said, "Straight ahead," Not to delay or be misled. Wolf: But slow, little girl, Hark! And hush-- the birds are singing sweetly. You'll miss the birds completely, You're traveling so fleetly. Grandmother first, then Miss Plump... What a delectable couple: Utter perfection, one brittle, one supple-- One moment, my dear--! LRRH: Mother said, "Come what may, Follow the path and never stray." Wolf: Just so, little girl-- any path. So many worth exploring. Just one would be so boring. And look what you're ignoring... Think of those crisp, aging bones, Then something fresh on the palate. Think of that scrumptious carnality twice in one day--! there's no possible way to describe what you feel When you're talking to your meal! LRRH: Mother said not to stray. Still, I suppose, a small delay... Granny might like a fresh bouquet... Goodbye, Mr. Wolf. Wolf: Goodbye, little girl. And hello... [howls]I Guess This Is Goodbye [ Top ] Jack: I guess this is goodbye, old pal. You've been a perfect friend. I hate to see us part, old pal, Someday I'll buy you back. I'll see you soon again. I hope that when I do, It won't be on a plate.Maybe They're Magic [ Top ] Wife: If you know what you want, Then you go and you find it And you get it-- Baker: [pointing off] Home. Wife: Do we want a child, or not? --and you give and you take And you bid and you bargain, Or you live to regret it. Baker: Will you please go home. Wife: There are rights and wrongs and in-betweens-- No one waits when fortune intervenes. And maybe they're really magic. Who knows? Why you do what you do, That's the point, All the rest of it is chatter. Baker: [about Milky-White] Look at her, she's crying. Wife: If the thing you do is pure in intent, If it's meant, and it's just a little bent, Does it matter? Baker: Yes. Wife: No, what matters is that everyone tells tiny lies-- What's important, really, is the size. Only three more tries, and we'll have our prize. When the end's in sight, you'll realize: If the end is right, it justifies The beans!I Know Things Now [ Top ] Little Red Riding Hood (LRRH): Mother said, 'straight ahead, Not to delay, or be mislead.' I should have heeded her advice. But he seemed so nice. And he showed me things, many beautiful things, That I hadn't thought to explore. They were off my path, so I never had dared. I had been so careful, I never had cared. And he made me feel excited.. Well, excited and scared. When he said, 'Come in,' with that sickening grin, How could I know what was in store? Once his teeth were bared, though, I really got scared. Well, excited and scared.. But he drew me close, and he swallowed me down, Down a dark, slimy path, where lie secrets that I never want to know, And when everything familiar seemed to disappear forever, At the end of the path, was Granny once again, So we wait in the dark, until someone sets us free, And we're brought into the light, And we're back at the start.. And I know things now, many valuable things, That I hadn't known before. Do not put your faith in a cape and a hood. They will not protect you the way that they should. And take extra care with strangers, even flowers have their dangers, And though scary is exciting, Nice is different than good. Now I know, don't be scared. Granny is right, just be prepared. Isn't it nice to know a lot? ..And a little bit.. not.A Very Nice Prince [ Top ] Cinderella: He's a very nice Prince. Wife: And--? Cinderella: And-- It's a very nice Ball. Wife: And--? Cinderella: And-- When I entered, they trumpeted. Wife: And--? The Prince--? Cinderella: Oh, the Prince?... Wife: Yes, the Prince! Cinderella: Well, he's tall. Wife: Is that all? Did you dance? Is he charming? They say that he's charming. Cinderella: We did nothing but dance. Wife: Yes--? And--? Cinderella: And it made a nice change. Wife: No, the Prince! Cinderella: Oh, the Prince?... Wife: Yes, the Prince. Cinderella: He has charm for a Prince, I guess... Wife: Guess? Cinderella: I don't meet a wide range. And it's all very strange.First Midnight [ Top ] Baker: One midnight gone... Mysterious Man: No knot unties itself... Witch: Sometimes the things you most wish for are not to be touched... Princes: The harder to get, the better to have... CP: Agreed? RP: Agreed. Florinda: Never wear mauve at a ball... Lucinda: Or pink... Stepmother [to stepdaughters]: Or open your mouth... Jack: The difference between a cow and a bean Is a bean can begin an adventure... Jack's Mother [at Jack]: Slotted spoons don't hold much soup... LRRH: The prettier the flower, the farther from the path... Cinderella's Father: The closer to the family, the closer to the wine... Rapunzel [offstage]: Ah-ah-ah-ah-ah... Witch: One midnight gone!... granny: The mouth of a wolf's not the end of the world... Steward: A servant is not just a dog, to a Prince.... Cinderella: Opportunity is not a lengthy visitor... Wife: You may know what you need, But to get what you want, Better see that you keep what you have. [All overlapping] Baker: One midnight gone... Witch: Sometimes the things you most wish for are not to be touched... Princes: The harder to get, the better to have... CP: Agreed? RP: Agreed. Baker: One midnight gone...one midnight gone... Florinda: Never wear mauve at a ball... Lucinda: Or pink... Jack's Mother: Slotted spoons don't hold much soup... Baker's Wife: To get what you want better keep what you... LRRH: The prettier the flower... All: One midnight one midnight one midnight gone.. Into the woods, Into the woods, Into the woods, then out of the woods and home before--Giants In the Sky [ Top ] Jack: There are giants in the sky! There are big, tall, terrible giants in the sky! When you're way up high, and you look below At the world you've left and the things you know, Little more than a glance is enough to show You just how small you are. When you're way up high, and you're on your own, In a world like none that you've ever known, Where the sky's like lead, and the earth's like stone, You're free to do whatever pleases you. Exploring things you'd never dared, 'Cause you don't care, When suddenly there's A big, tall, terrible giant at the door. A big, tall, terrible lady giant sweeping the floor. And she gives you food, and she gives you rest. And she draws you close to her giant breast. And you know things now, that you never knew before. After the sky. Only just when you've made a friend and all, And you know she's big, but you don't feel small, Someone bigger than her comes along the hall To swallow you for lunch! And your heart is lead, and your stomach's stone, And you're really scared, being all alone, And it's then that you miss all the things you've known, And the world you've left, and the little you own; The fun is done. You steal what you can, and run! And you scramble down, and you look below At the world you left, and the things you know.. The roof, the house, and your mother at the door. The roof, the house, and the world you'd never thought to explore. And you think of all of the things you'd seen. And you wish that you could live in-between. And you're back again, only different than before. After the sky. There are giants in the sky! There are big, tall, terrible, awesome, scary, Wonderful giants in the sky!Agony [ Top ] Cinderella's Prince (CP): Do I abuse her, or show her disdain? Why does she run from me? If I pursue her, how shall I regain The heart she has won from me? Agony! Beyond power of speech, When the one thing you want Is the only thing out of your reach. Rapunzel's Prince (RP): High in her tower, she sits by the hour, Maintaining her hair. Blithe and becoming, and frequently humming A lighthearted air.. A-a-a-a-a-a-ah.. Agony! Far more painful than yours! When you know she would go with you, If there only were doors! Both: Agony! Oh the torture they teach! RP: What's as intriguing-- CP: Or half so fatiguing-- Both: As what's out of reach? CP: Am I not sensitive, clever, well-mannered, considerate, Passionate, charming, as kind as I'm handsome, And heir to the throne?! RP: You are everything maidens could wish for. CP: The why no? RP: Do I know? CP: The girl must be mad! RP: You know nothing of madness.. ..Till you're climbing her hair, and you see her Up there, as you're nearing her, All the while hearing her 'A-a-a-a-a-a-ah.' Both: Agony! CP: Misery! RP: Woe! Both: Though it's different for each. CP: Always ten steps behind-- RP: Always ten feet below-- Both: and she's just out of reach. Agony, that can cut like a knife! I must have her to wife.It Takes Two [ Top ] Wife: You've changed. You're daring. You're different in the woods. More sure. More sharing. You're getting us through the woods. If you could see-- You're not the man who started, And much more open-hearted Than I knew you to be. Baker: It takes two. I thought one was enough, It's not true: It takes two of us. You came through When the journey was rough. It took you. It took two of us. It takes care, It takes patience and fear and despair To change. Though you swear to change, Who can tell if you do? It takes two. Wife: You've changed. You're thriving. There's something about the woods. Not just surviving, You're blossoming in the woods. At home I'd fear We'd stay the same forever. And then out here You're passionate, charming, considerate, clever-- Baker: It takes one To begin, but then once you've begun, It takes two of you. It's no fun, But what needs to be done You can do When there's two of you. If I dare, It's because I'm becoming aware of us As a pair of us, Each accepting a share Of what's there. Both: We've changed. We're strangers. I'm meeting you in the woods. Who minds What dangers? I know we'll get past the woods. And once we're past, Let's home the changes last Beyond woods, Beyond witches and slippers and hoods, Just the two of us-- Beyond lies, Safe at home with our beautiful prize, Just the few of us. It takes trust. It takes just a bit more and we're done. We want four, we had none. We've got three. We need one. It takes two.Second Midnight [ Top ] Witch: Two midnights gone! Cinderella: Wanting a ball is not wanting a Prince... CP: Near may be better than far, But it still isn't there... RP [echo]: Near may be better than far, But it still isn't there... Cinderella: The ball... CP: So near... RP: So far... Stepmother: You can never love somebody else's child-- Florinda, Lucinda: Two midnights gone! Stepmother: --the way you love-- CP: So near... Stepmother: --your own. Cinderella: The Prince... RP: so far... Granny: The greatest prize can often lie At the end of the thorniest path... All: Two midnights gone! Two midnights gone!Stay With Me [ Top ] Witch: What did I clearly say? Children must listen. Rapunzel: No, no, please! Witch: What were you not to do? Children must see-- Rapunzel: No! Witch: And learn. Why could you not obey? Children should listen. What have I been to you? What would you have me be? Handsome like a Prince? Ah, but I am old. I am ugly. I embarrass you. Rapunzel: No! Witch: You are ashamed of me. Rapunzel: No! Witch: You are ashamed. You don't understand. Rapunzel: It was lonely atop that tower. Witch: I was not company enough? Rapunzel: I am no longer a child; I wish to see the world! Witch: Don't you know what's out there in the world? Someone has to shield you from the world. Stay with me. Princes wait there in the world, it's true. Princes, yes, but wolves and humans, too. Stay at home. I am home. Who out there could love you more than I? What out there that I cannot supply? Stay with me. Stay with me, The world is dark and wild. Stay a child, while you can be a child. With me.On the Steps of the Palace [ Top ] Cinderella: He's a very smart Prince. He's a Prince who prepares. Knowing this time I'd run from him, He spread pitch on the stairs. I was caught unawares. And I thought, Well, he cares. This is more than just malice. Better stop and take stock while you're standing here stuck On the steps of the palace. You think, What do you want? You think, Make a decision! Why not stay and be caught? You think, Well, it's a thought.. What would be his response? But then what if he knew who you were, When you know that you're not what he thinks that he wants? And then, what if you are What a Prince would envision? Although how can you know who you are, Till you know what you want, which you don't, So then which do you pick: Where you're safe out of sight, And yourself, but where everything's wrong, Or where everything's right, And you know that you'll never belong? And whichever you pick, do it quick, 'Cause you're starting to stick To the steps of the palace! It's your first big decision.. The choice isn't easy to make. To arrive at a Ball is exciting, and all, Once you're there, though, it's scary. And it's fun to deceive when you know you can leave, But you have to be wary. There's a lot that's at stake, but you've stalled long enough, 'Cause you're still standing stuck on the stuff on the steps.. Better run along home! And avoid the collision. Even though they don't care, you'd be better off there, Where there's nothing to choose, so there's nothing to lose, So you pry up your shoes... And then, out of the blue, And without any guide, You know what your decision is.. Which is not to decide. You just leave him a clue. For example: a shoe. And then see what HE'LL do. Now it's he and not you who is stuck with the shoe In a stew.. In the goo.. And you've learned something too, Something you never knew, On the steps of the Palace!Ever After [ Top ] Cinderella: I didn't think I'd wed a Prince. CP: I didn't think I'd ever find you. Cinderella, CP, Baker, Wife: I didn't think I could be so happy!... NA: And it came to pass, all that seemed wrong was now right, the kingdoms were filled with joy, and those who deserved to were certain to live a long and happy life. Ever after... Company: Ever after! NA: Journey over, all is mended, And it's not just for today, But tomorrow, and extended Ever after! Company: Ever after! NA: All the curses have been ended, The reverses wiped away. All is tenderness and laughter For forever after! Company: Happy now and happy hence And happy ever after! NA: There were dangers-- Company: We were frightened-- NA: And confusions-- Company: But we hid it-- NA: And the paths would often swerve. Company: We did not. NA: There were constant-- Company: It's amazing-- NA: Disillusions-- Company: That we did it. NA: But they never lost their nerve. Company: Not a lot. NA, Company: And they (we) reached the right conclusions, And they (we) got what they (we) deserve! Company: Not a sigh and not a sorrow, Tenderness and laughter. Joy today and bliss tomorrow, And forever after! Florinda: I was greedy. Lucinda: I was vain. Florinda: I was haughty. Lucinda: I was smug. Both: We were happy. Lucinda: It was fun. Florinda: But we were blind. Both: Then we went into the woods To get our wish And now we're really blind. Witch [Over]: I was perfect. I had everything but beauty. I had power, And a daughter like a flower, In a tower. Then I went into the woods to get my wish And now I'm ordinary. Lost my power, and my flower. Florinda, Lucinda: We're unworthy. Florinda, Lucinda, Witch: We're (I'm) unhappy now, unhappy hence, As well as ever after. Had we used our common sense, Been worthy of our discontents... Company: To be happy, and forever, You must see your wish come true. Don't be careful, don't be clever. When you see your wish, pursue. It's a dangerous endeavor, But the only thing to do-- [in three groups: round] Though it's fearful, Though it's deep, though it's dark, And though you may lose the path, Though you may encounter wolves, You mustn't stop, You mustn't swerve, You mustn't ponder, You have to act! When you know your wish, If you want your wish, You can have your wish, But you can't just wish-- No, to get your wish [unison] You go into the woods, Where nothing's clear, Where witches, ghosts And wolves appear. Into the woods And through the fear, You have to take the journey. Into the woods And down the dell, In vain perhaps, But who can tell? Into the woods to lift the spell, Into the woods to lose the longing. Into the woods to have the child, To wed the Prince, To get the money, To save the house, To kill the wolf, To find the father, To conquer the kingdom, to have, to wed, To get, to save, To kill, to keep, To go to the Festival! Into the woods, Into the woods, Into the woods, Then out of the woods-- NA: To be continued... All: --And happy ever after!Act II Prologue: So Happy [ Top ] NA: Once upon a time-- --later-- Cinderella: I wish.. NA: --in that same far-off kingdom-- Cinderella: More than anything.. NA: --lived a young Princess-- Cinderella: More than life.. NA: --the lad Jack-- Cinderella: More than footmen.. Jack: I wish.. NA: --and the baker and his family-- Baby: Waaah! Jack: No, I miss.. Cinderella, Baker: I wish.. Baby: Waaah! Jack: More than anything.. Cinderella, Baker, Jack: More than the moon.. Wife [to baby]: There, there.. Cinderella: I wish to sponsor a Festival. Baby: Waaah! Baker: More than life.. Jack: I miss.. Cinderella: the time has come for a Festival.. Baby: Waaah! Wife: Shh.. Baker [Over]: More than riches.. Cinderella: And a Ball... Jack: I miss my kingdom up in the sky. Cinderella, baker: More than anything.. Wife: I wish we had more room.. Jack: Play, harp.. Baker: Another room.. NA: But despite some minor inconveniences, they were all content.. Cinderella: I never thought I'd wed a Prince.. CP: I never thought I'd find perfection.. Both: I never thought I could be so happy! Cinderella: Not an unhappy moment since.. Jack, Jack's Mother: I didn't think we'd be this rich.. CP: Not a conceivable objection.. Baker, Wife: I never thought we'd have a baby.. Cinderella, CP, Jack, Jack's Mother: I never thought I could be so happy! Baker, Wife [Over]: I'm so happy! Stepmother: Happy now, Happy hence, Happy ever after-- Stepmother, Stepsisters: We're so happy you're so happy! Just as long as you stay happy, We'll stay happy! Cinderella, CP: Not one row.. Jack's Mother: Pots of pence.. Jack: With my cow.. Baker, Wife: Little gurgles.. CP: Darling, I must go now.. Jack's Mother: We should really sell it. Baker: Where's the cheesecloth? All Others: Wishes may bring problems, Such that you regret them. All: Better that, though, Than to never get them.. Cinderella: I'm going to be a perfect wife! Jack [Over]: I'm going to be a perfect son! Wife, Jack's Mother: I'm going to be a perfect mother! Baker: I'm going to be a perfect father! I'm so happy! Cinderella, Jack, Jack's Mother, Wife: I'm going to see that he (she) Is so happy! All: I never thought I'd love my life! I would have settled for another! Cinderella: Then to become a wife.. Jack, Jack's Mother: Then to be set for life.. Baker, Wife: Then to beget a child.. All: That fortune smiled.. I'm so happy. [dialogue, then:] Baker, Wife, Jack, Jack's Mother: We had to go through thick and thin. Stepmother, Lucinda, Florinda: We had to lose a lot to win. Cinderella: I ventured out and saw within. All: I never thought I'd be so much I hadn't been! I'm so hap-- [crash, dialogue, then:] Baker: Who could do such a thing? Witch: Anything that leaves a footprint that large is no 'who.' Baker: Do you think it was a bear? Witch: A bear? Bears are sweet. Besides, you ever see a bear with forty-foot feet? Wife: Dragon? Witch: No scorch marks--usually they're linked. Baker: Manticore? Witch: Imaginary. Wife, Baker: Griffin? Witch: Extinct. Baker: Giant? Witch: Possible. Very, very possible.. [dialogue, then:] Baker: Into the woods, It's always when You think at last you're through, and then Into the woods you go again To take another journey. Wife: Into the woods, The weather's clear, We've been before, we've naught to fear.. Into the woods, away from here-- Jack: Into the woods, to find a giant--! LRRH: Into the woods to Grandmother's house.. Baker: Into the woods, The path is straight, No reason, then, to hesitate-- Wife: Into the woods, It's not so late, It's just another journey.. Cinderella: Into the woods, But not too long: The skies are strange, The winds are strong. Into the woods to see what's wrong.. Jack: Into the woods to slay the giant! Wife: Into the woods to shield the child.. LRRH: To flee the winds.. Baker: To find a future.. Wife: To shield.. Jack: To slay.. LRRH: To flee.. Baker: To find.. Cinderella: To fix.. Wife: To hide.. LRRH: To move.. Jack: To battle.. Cinderella: To see what the trouble is...Agony: Reprise [ Top ] CP: High in a tower-- Like yours was, but higher-- A beauty asleep. All 'round the tower, A thicket of briar A hundred feet deep. Agony! No frustration more keen, When the one thing you want Is a thing that you've not even seen. RP: I've found a casket Entirely of glass-- No, it's unbreakable. Inside--don't ask it-- A maiden, alas, Just as unwakeable-- Both: What unmistakable agony! Is the way always barred? RP: She has skin white as snow-- CP: Did you learn her name? RP: No, there's a dwarf standing guard. Both: Agony! Such that princes must weep! Always in thrall most To anything almost, Or something asleep. CP: If it were not for the thicket-- RP: A thicket's no trick. Is it thick? CP: It's the thickest. RP: The quickest is pick it apart with a stick-- CP: Yes, but even one prick-- It's my thing about blood. RP: Well, it's sick! CP: It's no sicker than your thing with dwarves. RP: Dwarves. CP: Dwarves... RP: Dwarves are very upsetting. Both: Not forgetting the tasks unachievable, Mountains unscalable-- If it's conceivable But unavailable, Ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-- Agony! CP: Misery! RP: Woe! Both: Not to know what you miss. CP: While they lie there for years-- RP: And you cry on their biers-- Both: What unbearable bliss! Agony, that can cut like a knife! Ah well, back to my wife...Lament [ Top ] Witch: This is the world I meant. Couldn't you listen? Couldn't you stay content, Safe behind walls As I could not.. Now you know what's out there in the world. No one can prepare you for the world. Even I.. How could I, who loved you as you were, How could I have shielded you from her, Or them? No matter what you say, Children won't listen. No matter what you know, Children refuse to learn. Guide them along the way, Still, they won't listen. Children can only grow From something you love, To something you lose!Any Moment [ Top ] CP: Anything can happen in the woods.. May I kiss you? Any moment, we could be crushed.. Don't feel rushed. [kisses her] Wife: This is ridiculous What am I doing here? I'm in the wrong story! Wait, one moment please, sir! We can't do this.. you have a princess. CP: That's true. Wife: And I have a.. a baker. CP: Of course, you're right. How foolish! Foolishness can happen in the woods.. Once again, please. Let your hesitations be hushed. Any moment, big or small Is a moment after all. Seize the moment; skies may fall Any moment. [kisses her, deeply] Wife: No nononono.. this is not right. CP: Right and wrong don't matter in the woods, Only feelings.. Let us meet the moment unblushed. Life is often so unpleasant, You must know that, as a peasant. Best to take a moment present As a present, for the moment. [After] CP: I must leave you. Wife: Why? CP: The giant.. Wife: Oh, yes, the giant. Will we find each other in the woods again? CP: This was just a moment in the woods.. Our moment. Shimmering and lovely and sad. Leave the moment, just be glad For the moment that we had. Every moment is of moment When you're in the woods..Moments In the Woods [ Top ] Wife: What was that? Was that me? Was that him? Did a prince really kiss me, And kiss me.. and kiss me.. And did I kiss him back? Was it wrong? Am I mad? Was that all? Does he miss me? Was he suddenly getting bored with me? Wake up! Stop dreaming, Stop prancing about the woods. It's not beseeming. What is it about the woods? Back to life, back to sense, back to child, back to husband. No one lives in the woods! There are vows, there are ties, There are needs, there are standards, There are shouldn't and shoulds. Why not both instead? There's the answer, if you're clever. Have a child for warmth, and a baker for bread, And a prince, for.. whatever.. Never! It's these woods! Face the facts, find the boy, join the group, stop the giant-- Just get out of these woods. Was that me? Yes it was. Was that him? No it wasn't.. Just a trick of the woods! Just a moment, One peculiar passing moment. Must it all be either less or more, Either plain or grand? Is it always 'or'? Is it never 'and'? That's what woods are for: For those moments in the woods... Oh, if life were made of moments, Even now and then a bad one--! But if life were only moments, Then you'd never know you had one. First a witch, then a child, then a Prince, then a moment-- Who can live in the woods? And to get what you wish, only just for a moment-- These are dangerous woods.. Let the moment go.. Don't forget it for a moment, though. Just remembering you had an 'and,' when you're back to 'or,' Makes the 'or' mean more than is did before. Now I understand-- And it's time to leave the woods.Your Fault [ Top ] Baker: It's because of you there's a giant in our midst, and my wife is dead! Jack: But it isn't my fault, I was given those beans! You persuaded me to trade away my cow for beans! And without those beans, there'd have been no stalk To get up to the giant in the first place! Baker: Wait a minute, magic beans for a cow so old That you had to tell a lie to sell it, which you told! Were they worthless beans? Were they oversold? Oh, and tell us who persuaded you to steal that gold! LRRH [to Jack]: See, it's your fault. Jack: No! Baker: So it's your fault.. Jack: No! LRRH: Yes, it is! Jack: It's not! Baker: It's true. Jack: Wait a minute, though-- I only stole the gold to get my cow back From you! LRRH [to Baker]: So it's your fault! Jack: Yes! Baker: No, it isn't! I'd have kept those beans, but our house was cursed. She made us get a cow to get the curse reversed! Witch: It's his father's fault that the curse got placed, And the place got cursed in the first place! LRRH: Oh. Then it's his fault! Witch: So. Cinderella: It was his fault.. Jack: No. Baker: Yes, it is, it's his. Cinderella: I guess.. Jack: Wait a minute, though-- I chopped down the beanstalk, right? That's clear. But without any beanstalk, then what's queer Is how did the second giant get down here In the first place? ..second place.. Cinderella: Yes! LRRH: How? Baker: Hmm.. Jack: Well, who had the other bean? Baker: The other bean? Cinderella: The other bean? Jack [to Baker]: You pocketed the other bean. Baker: I didn't! Yes, I did. LRRH: So it's your f--! Baker: No, it isn't, 'cause I gave it to my wife! LRRH: So it's her f--! Baker: NO, IT ISN'T! Cinderella: Then whose is it? Baker: Wait a minute! [to Cinderella] She exchanged that bean to obtain your shoe, So the one who knows what happened to the bean is you! Cinderella: You mean that old bean-- that your wife--? Oh, dear-- [as they all look at her] But I never knew, and so I threw-- Well, don't look here! LRRH: So it's your fault! Cinderella: But-- Jack: See, it's her fault-- Cinderella: But-- Jack: And it isn't mine at all! Baker [to Cinderella]: But what? Cinderella [to Jack]: Well, if you hadn't gone back up again-- Jack: We were needy-- Cinderella: You were greedy! Did you need that hen? Jack: But I got it for my mother--! LRRH: So it's her fault then! Cinderella: Yes, and what about the harp in the third place? Baker: The harp--yes! Jack [referring to LRRH]: She went and dared me to! LRRH: I dared you to? Jack: You dared me to! [to the others] She said that I was scared-- LRRH: ME? Jack: --to. She dared me! LRRH: No, I didn't! Baker, Cinderella, Jack: So it's your fault! LRRH: Wait a minute--! Cinderella: If you hadn't dared him to-- Baker [to Jack] And you had left the harp alone, We wouldn't be in trouble in the first place! LRRH [to Cinderella, over]: Well, if you hadn't thrown away the bean In the first place--! It was your fault! Cinderella [referring to Witch]: Well, if she hadn't raised them in the first place--! Jack [over, to Witch]: Yes, if you hadn't raised them in the first place--! LRRH, Baker [to Witch]: Right! It's you who raised them in the first place--! Cinderella [simultaneously]: You raised the beans in the first place! Jack: It's YOUR fault! Cinderella, Jack, LRRH, Baker: You're responsible! You're the one to blame! It's your fault! Witch: Shhhhhhhhhhh! [goes directly into next song]Last Midnight [ Top ] Witch: It's the last midnight. It's the last wish. It's the last midnight, Soon it will be boom-- Squish! Told a little lie, stole a little gold, broke a little vow, Did you? Had to get your Prince, had to get your cow, Have to get your wish, doesn't matter how.. Anyway, it doesn't matter now. It's the last midnight, It's the boom-- Splat! Nothing but a vast midnight, Everybody smashed flat! Nothing we can do... Not exactly true: We can always give her the boy... No? No, of course, what really matters is the blame. Somebody to blame. Fine, if that's the thing you enjoy, placing the blame, If that's the aim, give me the blame. Just give me the boy. No? You're so nice. You're not good, you're not bad, You're just nice. I'm not good, I'm not nice, I'm just right. I'm the witch. You're the world. I'm the hitch, I'm what no one believes. I'm the witch. You're all liars and thieves, Like his father! Like his son will be too! Oh, why bother? You'll just do what you do! It's the last midnight, So goodbye, all. Coming at you fast, midnight-- Soon you'll see the sky fall! Here, you want a bean? Have another bean. Beans were made for making you rich! Plant them and they soar-- Here, you want some more? Listen to the roar: Giants by the score--! Oh well, you can blame another witch. It's the last midnight, It's the last verse. Now, before it's past midnight, I'm leaving you my last curse: I'm leaving you alone. You can tend the garden, it's yours. Separate and alone, Everybody down on all fours. All right, Mother, when? Lost the beans again! Punish me the way you did then! Give me claws and a hunch, Just away from this bunch And the gloom And the doom And the boom Cruuuunch!No More [ Top ] Baker: No more questions, please. No more tests. Comes the day you say, 'What for?' Please.. no more. Mysterious Man: We disappoint, we disappear, we die, but we don't. They disappoint in turn, I fear, Forgive, though, they won't. Baker: No more riddles. No more jests. No more curses you can't undo, left by fathers you never knew. No more quests. No more feelings. Time to shut the door. Just.. No more. Mysterious Man: Running away, let's do it. Free from the ties that bind. No more despair, or burdens to bear, Out there in the yonder. Running away, go to it. Where did you have in mind? Have to take care.. unless there's a 'where', You'll only be wandering blind. Just more questions.. different kind. Where are we to go? Where are we ever to go? Running away, we'll do it. Why sit around, resigned? Trouble is, son, the farther you run, The more you'll be wandering blind. For what you have left undone, and more, What you've left behind. We disappoint, we leave a mess, we die, but we don't. Baker: We disappoint in turn, I guess. Forget, though, we won't. Both: Like father, like son. Baker: No more giants waging war! Can't we just pursue our lives, with our children and our wives, 'Til that happy day arrives, how do you ignore All the witches, all the curses, All the wolves, all the lies, the false hopes, the good-bye's, The reverses, All the wondering what even worse is still in store! All the children. All the giants.. No more.No One Is Alone [ Top ] Cinderella: Mother cannot guide you. Now you're on your own. Only me beside you. Still, you're not alone. No one is alone. Truly. No one is alone. Sometimes people leave you Halfway through the wood. Others may deceive you. You decide what's good. You decide alone. But no one is alone. LRRH: I wish.. Cinderella: I know. Mother isn't here now. Baker: Wrong things, right things. Cinderella: Who knows what she'd say? Baker: Who can say what's true? Cinderella: Nothing's quite so clear now. Baker: Do things, fight things, Cinderella: Feel you've lost your way? Baker: You decide, but Both: You are not alone. Cinderella: Believe me, No one is alone Baker: No one is alone. Believe me. Truly. You move just a finger, You move just a finger, Say the slightest word, Say the slightest word, Something's bound to linger, Something's bound to linger, Be heard. Be heard. No one acts alone. Careful. No one is alone. People make mistakes. People make mistakes. Fathers, Mothers, People make mistakes, People make mistakes, Holding to their own, Holding to their own, Thinking they're alone. Thinking they're alone. Honor their mistakes-- Everybody makes-- Fight for they're mistakes-- Both: One another's terrible mistakes. Witches can be right, giants can be good. You decide what's right, you decide what's good. Cinderella: Baker: Just remember: [echo] Just remember: Both: Someone is on your side. Jack, LRRH: OUR side. Baker, Cinderella: Our side-- Someone else is not. While we're seeing our side-- Jack, LRRH: Our side.. Baker, Cinderella: Our side-- All: Maybe we forgot: they are not alone. No one is alone. Cinderella: Hard to see the light now. Baker: Just don't let it go. Both: Things will come out right now. We can make it so. Someone is on your side-- [interrupted]Finale: Children Will Listen [ Top ] Jack's Mother: The slotted spoon CAN catch the potato... Mysterious Man: Every knot was once straight rope.. Princes: The harder to wake, the better to have.. Snow White, Sleeping Beauty: (Yawn) Excuse me. Steward: The greater the good, the harder the blow.. Stepmother: When going to hide, know how to get there. Cinderella's Father: And how to get back.. Florinda, Lucinda: And eat first.. Granny: The knife that is sharp today may be dull by tomorrow.. Rapunzel: Ah-ah-ah-ah-ah.. Baker: Maybe I just wasn't meant to have children-- Wife: Don't say that! Of course you were meant to have children.. Baker: But how will I go about being a father With no one to mother my child? Wife: Just calm the child. Baker: Yes, calm the child. Wife: Look, tell him the story of how it all happened. Be father and mother, you'll know what to do. Baker: Alone.. Wife: Sometimes people leave you Halfway through the wood. Do not let it grieve you, No one leaves for good. You are not alone. No one is alone. Hold him to the light now, Let him see the glow. Things will be all right now. Tell him what you know.. Baker: Shhh. Once upon a time...in a far-off kingdom...lived a young maiden...a sad young lad..and a childless baker...with his wife. Witch [simultaneously with Baker]: Careful the things you say, Children will listen. Careful the things you do, Children will see. And learn. Children may not obey, But children will listen. Children will look to you For which way to turn, To learn what to be. Careful before you say, "Listen to me." Children will listen. Company: Careful the wish you make, Wishes are children. Careful the path they take, Wishes come true, Not free. Careful the spell you cast, Not just on children. Sometimes the spell may last Past what you can see And turn against you... Witch: Careful the tale you tell. That is the spell. Children will listen.. Company [in three groups: round]: Though it's fearful, Though it's deep, though it's dark And though you may lose the path, Though you may encounter wolves, You can't just act, You have to listen. you can't just act, You have to think. Though it's dark, There are always wolves, There are always spells, There are always beans, Or a giant dwells there. [unison] So into the woods you go again, You have to every now and then. Into the woods, no telling when, Be ready for the journey. Into the woods, but not too fast or what you wish, you lose at last. Into the woods, but mind the past. Into the woods, but mind the future. Into the woods, but not to stray, Or tempt the wolf, or steal from the giant-- The way is dark, The light is dim, But now there's you, me, her, and him. The chances look small, The choices look grim, But everything you learn there Will help when you return there. Baker, Jack, Cinderella, LRRH: The light is getting dimmer.. Baker: I think I see a glimmer-- All: Into the woods--you have to grope, But that's the way you learn to cope. Into the woods to find there's hope Of getting through the journey. Into the woods, each time you go, There's more to learn of what you know. Into the woods, but not too slow-- Into the woods, it's nearing midnight-- Into the woods to mind the wolf, To heed the witch, to honor the giant, To mind, to heed, to find, to think, to teach, to join, To go to the Festival! Into the woods, Into the woods, Into the woods, Then out of the woods-- And happy ever after! Cinderella: I wish...

What are amps made of?

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (September 2009) Mesa Boogie Mark IV, a guitar combo amplifier A guitar amplifier (or guitar amp) is an electronic amplifier designed to make the signal of an electric or acoustic guitar louder so that it will produce sound through a loudspeaker. Most guitar amplifiers can also modify the instrument's tone by emphasizing or de-emphasizing certain frequencies and adding electronic effects. Amplifiers consist of one or more circuit stages which have unique responsibilities in the modification of the input signal. The power amplifier or output stage produces a high current signal to drive a speaker to produce sound. One or more preamplifier stages precede the power amplifier stage. The preamplifier is a voltage amplifier that amplifies the guitar signal to a level that can drive the power stage. There may be one or more tone stages which affect the character of the guitar signal: before the preamp stage (as in the case of guitar pedals), in between the preamp and power stages (as in the cases of effects loop or many dedicated amplifier tone circuits), in between multiple stacked preamp stages, or in feedback loops from a post-preamp signal to an earlier pre-preamp signal (as in the case of presence modifier circuits). The tone stages may also have electronic effects such as equalization, compression, distortion, chorus, or reverb. Amplifiers may use vacuum tubes (in Britain they are called valves), or solid-state (transistor) devices, or both. There are two configurations of guitar amplifiers: combination ("combo") amplifiers, which include an amplifier and anywhere from one to four speakers in a wooden cabinet; and the standalone amplifier (often called a "head" or "amp head"), which does not include a speaker, but rather passes the signal to a speaker cabinet or "cab". Guitar amplifiers range in price and quality from small, low-powered practice amplifiers, designed for students, which sell for less than US$50, to expensive "boutique" amplifiers which are custom-made for professional musicians and can cost thousands of dollars. Contents [hide] 1 History 2 Types 2.1 Vacuum tube amplifiers 2.2 Solid-state amplifiers 2.3 Hybrid amplifiers 2.4 Modeling amplifiers 2.5 Acoustic guitar amplifiers 3 Amplifier configuration 4 Distortion, power, and volume 4.1 Power output 4.2 Distortion and volume 4.2.1 Power-tube distortion 4.3 Volume controls 5 Use with other instruments 6 See also 7 References 8 Further reading 9 External links [edit]History The first electric instrument amplifiers were not designed for use with electric guitars. The earliest examples appeared in the early 1930s when the introduction of electrolytic capacitors and rectifier tubes allowed the production of economical built-in power supplies that could be plugged into wall sockets, instead of heavy multiple battery packs, since rechargeable batteries wouldn't be lightweight until later on. While guitar amplifiers from the beginning were used to amplify acoustic guitar, electronic amplification of guitar was first widely popularized by the 1930s and 1940s craze for Hawaiian music, which extensively employed the amplified lap steel Hawaiian guitar. Tone controls on early guitar amplifiers were very simple and provided a great deal of treble boost, but the limited controls, the loudspeakers used, and the low power of the amplifiers (typically 15 watts or less prior to the mid-1950s) gave poor high treble and bass output. Some models also provided effects such as spring reverb and/or an electronic tremolo unit. Early Fender amps labeled tremolo as "vibrato" and labeled the vibrato arm of the Stratocaster guitar as a "tremolo bar" (see vibrato unit, electric guitar, and tremolo). In the 1960s, guitarists experimented with distortion produced by deliberately overdriving their amplifiers. The Kinks guitarist Dave Davies produced early distortion effects by connecting the already distorted output of one amplifier into the input of another. Later, most guitar amps were provided with preamplifier distortion controls, and "fuzz boxes" and other effects units were engineered to safely and reliably produce these sounds. In the 2000s overdrive and distortion has become an integral part of many styles of electric guitar playing, ranging from blues rock to heavy metal and hardcore punk. Guitar amplifiers were at first used with bass guitars and electronic keyboards, but other instruments produce a wider frequency range and need a suitable amplifier and full-range speaker system. Much more amplifier power is required to reproduce low-frequency sound, especially at high volume. Reproducing low frequencies also requires a suitable woofer or subwoofer speaker and enclosure. Woofer enclosures need to be larger and more sturdily built than cabinets for mid-range or high-frequency (tweeter) speakers. [edit]Types Two combo amplifiers Guitar amplifiers are manufactured in two main forms. The "combination" (or "combo") amplifier contains the amplifier head and guitar speakers in a single unit which is typically housed in a rectangular wooden box. The amplifier head or "amp head" contains the electronic circuitry constituting the preamp, built-in effects processing, and the power amplifier. Combo amps have at least one 1/4" input jack where the patch cord from the electric guitar can be plugged in. Other jacks may also be provided, such as an additional input jack, "send" and "return" jacks to create an effects loop (for connecting electronic effects such as compression, reverb, etc.), an extension speaker jack (for connecting an additional speaker cabinet). Some smaller practice amps have stereo RCA jacks for connecting a CD player, iPod or other sound source and a 1/4" headphone jack so that the player can practice without disturbing neighbours or family members. Kustom 200 bass amp - amp head and speakers, 100 watts RMS, two channels, two 15" speakers, 1971 Some amplifiers have a line out jack for connecting the amplifier's signal to a PA system or recording console or to connect the amplifier to another guitar amp. In but most styles of rock and blues guitar, the line out is not used to connect the guitar amp to a PA system or recording console, because the tonal coloration and overdrive from the amplifier and speaker is considered an important part of the amplifier's sound. However, players do use the line out to connect one guitar amplifier to another amplifier, in order to create different tone colors or sound effects. In the "amp head" form, the amplifier head is separate from the speakers, and joined to them by speaker cables. The separate amplifier is called an amplifier head, and is commonly placed on top of one or more loudspeaker enclosures. A separate amplifier head placed atop a guitar speaker enclosure or guitar speaker cabinet forms an amplifier "stack" or "amp stack". Amp heads may also have the different types of input and output jacks listed above in the combo section. In addition to a 1/4" input jack, acoustic guitar amplifiers typically have an additional input jack for a microphone, which is easily identified because it will use a three-pin XLR connector. Phantom power is not often provided on general-use amps, restricting the choice of microphones for use with these inputs. However, for high-end acoustic amplifiers, phantom power is often provided, so that musicians can use condenser microphones. Amplifiers used with electric guitars may be solid-state, which are lighter in weight and less expensive than tube amplifiers. Most guitarists, particularly in the genres of blues and rock, prefer the sound of vacuum tube amplifiers despite their higher cost, heavier weight, the need to periodically replace tubes and need to re-bias the output tubes (every year or two with moderate use). Some companies design amplifiers that require no biasing as long as properly rated tubes are used. Some modern amplifiers use a mixture of tube and solid-state technologies. Since the advent of microprocessors and digital signal processing, "modeling amps" have been developed in the late 1990s, these can simulate the sounds of a variety of well-known tube amplifiers without needing to use vacuum tubes. Amplifiers with processors and software emulate the sound of a classic amp well, but from the player's point of view the response of these amplifiers may not feel the same as the digital modeling does not accurately model all aspects of a tube amplifier. A wide range of instrument amplifiers is available, some for general purposes and others designed for specific instruments or particular sounds. These include: "Traditional" guitar amplifiers, with a clean, warm sound, a sharp treble roll-off at 5 kHz or less and bass roll-off at 60-100 Hz, and often built-in reverb and tremolo (sometimes incorrectly called 'vibrato') units. These amplifiers, such as the Fender "Tweed"-style amps, are often used by traditional rock, blues, and country musicians.Traditional amps have more recently become popular with musicians in indie and alternative bands Hard rock-style guitar amplifiers, which often include preamplification controls, tone filters, and distortion effects that provide the amplifier's characteristic tone. Users of these amplifiers use the amplifier's tone to add "drive", intensity, and "edge" to their guitar sound. Amplifiers of this type, such as Marshall amplifiers, are used in a range of genres, including hard rock, metal, and punk. Bass amplifiers, with extended bass response and tone controls optimized for bass guitars (or more rarely, for upright bass). Higher-end bass amplifiers sometimes include compressor or limiter features, which help to keep the amplifier from distorting at high volume levels, and an XLR DI output for patching the bass signal directly into a mixing board. Bass amplifiers are often provided with external metal heat sinks or fans to help keep the amplifier cool. Acoustic amplifiers, similar in many ways to keyboard amplifiers but designed specifically to produce a "clean," transparent, "acoustic" sound when used with acoustic instruments with built-in transducer pickups and/or microphones. [edit]Vacuum tube amplifiers Main article: Valve amplifier The glow from four "Electro Harmonix KT88" brand power tubes lights up the inside of a Traynor YBA-200 bass guitar amplifier Vacuum tubes (valves) were by far the dominant active electronic components in most instrument amplifier applications until the 1970s, when semiconductors (transistors) started taking over for performance and economic reasons, including heat and weight reduction, and improved reliability. High-end tube instrument amplifiers have survived as one of few exceptions, because of the sound quality. Typically, one or more dual triodes are used in the preamplifier section in order to provide sufficient voltage gain to offset losses by tone controls and to drive the power amplifier section. Rear view of a tube (valve) combo guitar amplifier. Visible are two glass output tubes, six smaller preamp tubes in their metal tube retainers, and both the power transformer and the output transformer. The output tubes are often arranged in a class AB push-pull connection to improve efficiency; this requires another triode or dual triode to split the phase of the signal. The tubes of the power amplifier stage are almost always of the pentode or beam tetrode type (also known as "kinkless tetrodes", hence the KTxx nomenclature). Some high power models use paralleled pairs of output tubes (four or more in total) in push-pull. Except for the light negative feedback from the secondary end of the output transformer to the driver stage, most amplifying stages work in "raw" open-loop mode. Some designs employ current feedback via unbypassed cathode resistors. Since most tubes show "soft clipping" gain non-linearity, applying an input signal high enough to overdrive any stage tends to produce favorably natural distortion. Today, most vacuum tube amplifiers are based on the ECC83/12AX7/7025 (dual triode) tubes for the preamplifier and driver sections and the EL84/6BQ5 or EL34/6CA7/KT77 or 6L6/KT66 or 6V6 tubes for the power output section. Some use the KT88/6550 beam power tubes in the output stage. The differing codes for equivalent tubes generally reflect those used by the original European or U.S.A. based manufacturers. These tubes are now mainly manufactured in Russia, China and Eastern European countries. Some amplifiers, such as the Marshall Silver Jubilee, use solid-state components in the preamp, most commonly diodes, to create distortion, a design feature known as diode clipping. Tube instrument amplifiers are often equipped with lower-grade transformers and simpler power regulation circuits than those of hi-fi amplifiers. They are usually not only for cost-saving reasons, but also are considered as a factor in sound creation[citation needed]. For example, a simple power regulation circuit's output tends to sag when there is a heavy load (that is, high output power) and vacuum tubes usually lose gain factors with lower power voltages. This results in a somewhat compressed sound which could be criticized as a "poor dynamic range" in case of hi-fi amplifiers, but could be desirable as "long sustain" of sounds on a guitar amplifier. Some tube guitar amplifiers use a rectifier tube instead of solid-state diodes specifically for this reason. Unfortunately, most amplifiers offer a fixed amount of sag, and this fixed amount can only be attained at full volumes. A small minority of amplifiers offer sag control via either multiple rectifiers or the Sag Circuit (a non-traditional power supply design patented by Maven Peal® Instruments). Amplifiers with multiple rectifiers can offer up to two sag settings (amounts), while the Sag Circuit provides a Sag control knob, which allows range of sag control at all volumes (by interacting with a wattage control knob). Some models have a "spring reverb" unit that simulates the reverberation of an echoic ambient. A reverb unit usually consists of one or more coil springs driven by the preamplifier section using a transducer driver similar to a loudspeaker at one end and an electro-magnetic pickup and preamplifier stage at the other end that picks up the long sustaining spring vibration, which is then mixed with the original signal. Some guitar amplifiers have a tremolo control. An internal oscillator generates a low frequency continuous signal which can modulate the input signal's amplitude or the output tubes' bias, thereby producing a tremolo effect. Tube amps have the following technical disadvantages in comparison to solid-state amps. They are bulky and heavy, primarily due to the iron in power and output transformers. Solid-state amplifiers still require power transformers, but are usually direct-coupled and don't need output transformers. Glass tubes are fragile, and require more care and consideration when equipment is moved repeatedly. Tube performance can deteriorate slightly over time before eventual catastrophic failure. When tube vacuum is maintained at a high level, though, excellent performance and life is possible. They are prone to pick up mechanical noises (microphonic noise), although such electro-mechanical feedback from the loudspeaker to the tubes in combo amplifiers may contribute to sound creation. Tubes benefit from a heater warm-up period before the application of high tension anode voltages; this allows the tube cathodes to operate without damage and so prolongs tube life. This is of particular importance for amplifiers with solid-state rectifiers. Tube amps have the following technical advantages over solid-state amps. Compared to semiconductors, tubes have a very low "drift" (of specs) over a wide range of operating conditions, specifically high heat/high power. Semiconductors are very heat-sensitive by comparison and this fact usually leads to compromises in solid-state amplifier designs. When a tube fails, it is replaceable. While solid-state devices are also replaceable, it is usually a much more involved process (i.e., having the amplifier tested by a professional, removing the faulty component, and replacing it). For working musicians this is usually a huge problem by comparison to looking in the back of a tube amp at the tubes and simply replacing the faulty tube. In addition, tubes can easily be removed and tested, while transistors cannot. Tube amplifiers respond differently from transistor amplifiers when signal levels approach and reach the point of clipping. In a tube-powered amplifier, the transition from linear amplification to limiting is less abrupt than in a solid-state unit, resulting in a less grating form of distortion at the onset of clipping. For this reason, some guitarists prefer the sound of an all-tube amplifier; the aesthetic properties of tube versus solid-state amps, though, are a topic of debate in the guitarist community. [edit]Solid-state amplifiers This article's Criticism or Controversy section may compromise the article's neutral point of view of the subject. Please integrate the section's contents into the article as a whole, or rewrite the material; see the discussion on the talk page. (October 2011) Most inexpensive guitar amplifiers currently produced are based on semiconductor (solid-state) circuits, and some designs incorporate tubes in the preamp stage for their subjectively warmer overdrive sound. Tubes create warm overdrive sounds because instead of cutting the peaked signal off, they more or less pull the peaked audio information back (like natural compression) which creates a fuzzy overdrive sound. While this is a desirable attribute in many cases, the tube's characteristic will "color" all the sounds at any volume, unlike solid-state. High-end solid-state amplifiers are less common, since many professional guitarists tend to favor vacuum tubes. Some jazz guitarists, however, tend to favor the "colder" sound of solid-state amplifiers, preferring not to color the sound of their guitar with the tube distortion and compression so popular with rock, blues, and metal musicians.[citation needed]. Solid-state amplifiers vary in output power, functionality, size, price, and sound quality in a wide range, from practice amplifiers to professional models. Some inexpensive amplifiers have only a single volume control and a one or two tone controls[citation needed]. [edit]Hybrid amplifiers A tube power amp may be fed by a solid-state pre-amp circuit, as in the Fender Super Champ XD and the Roland Bolt amplifier, which is thereby classed as a 'hybrid' amp. Randall Amplifier's current flagship models, the V2 and T2, use hybrid amp technology. Alternatively, a tube pre-amp can feed a solid-state output stage, as in models from Kustom and Vox. This approach dispenses with the need for an output transformer and allow modern power levels to be easily achieved. The Roland Micro Cube, left, a small and portable digital modeling amplifier. [edit]Modeling amplifiers Modeling amplifiers use amplifier modeling to simulate the sound of well-known guitar amps, cabinets, and effects, as well as simulating the way traditional speaker cabinets sound when mixed with different types of microphones. They may also be an original creation not meant to simulate any particular real world guitar amp at all, instead allowing the user to create their own unique sound. Such as the original creations of companies like AcmeBarGig or Peavey. This is usually achieved through digital processing. Modeling technology offers several advantages over traditional amplification. A modeling amp typically is capable of a wide range of tones and effects, and offers cabinet simulation, so it can be recorded without a microphone. Most modeling amps digitize the input signal and use a DSP, a dedicated microprocessor, to process the signal with digital computation. Some modeling amps incorporate vacuum tubes, digital processing, and some form of power attenuation. [edit]Acoustic guitar amplifiers These amplifiers are designed to be used with acoustic guitars, especially for the way these instruments are used in relatively quiet genres such as folk and bluegrass. They are similar in many ways to keyboard amplifiers, in that they have a relatively flat frequency response, and they are usually designed so that neither the power amplifier nor the speakers will introduce additional coloration. To produce this relatively "clean" sound, these amplifiers often have very powerful amplifiers (providing up to 800 watts RMS), to provide additional "headroom" and prevent unwanted distortion. Since an 800 watt amplifier built with standard Class AB technology would be very heavy, some acoustic amplifier manufacturers use lightweight Class D amplifiers, which are also called "switching amplifiers." Acoustic amplifiers are designed to produce a "clean", transparent, "acoustic" sound when used with acoustic instruments with built-in transducer pickups and/or microphones. The amplifiers often come with a simple mixer, so that the signals from a pickup and microphone can be blended. Since the early 2000s, it has become increasingly common for acoustic amplifiers to be provided with a range of digital effects, such as reverb and compression. As well, these amplifiers often contain feedback-suppressing devices, such as notch filters or parametric equalizers. [1] [edit]Amplifier configuration A 3 x 6 stack of Marshall guitar cabinets for Jeff Hanneman of Slayer In the case of electric guitars, an amplifier stack consisting of a head atop one cabinet is commonly called a half stack, while a head atop two cabinets is referred to as a full stack. The cabinet which the head sits on often has an angled top in front, while the lower cabinet of a full stack has a straight front. The first version of the Marshall stack was an amp head on an 8x12 cabinet, meaning a single speaker cabinet containing eight 12" guitar speakers. After six of these cabinets were made, the cabinet arrangement was changed to an amp head on two 4x12 cabinets, meaning four 12" speakers, to enable transporting the amp rig. In heavy metal bands, the term "double stack" or "full stack" is sometimes used to refer to two stacks, with the main amplifier section of a second amplifier serving as a slave to the first and four speaker cabinets in total. Another name for the "Head & Cab" that comes from the 1960s and 1970s is "Piggyback". Vox amp stacks could be put on a tiltable frame with casters. Fender heads could be attached to the cab and had "Tilt-Back" legs, like those used on larger Fender combo amps. Typically, a guitar amp's preamplifier section (known as a 'pre') provides sufficient gain so that an instrument can be connected directly to its input, and its main amplification section (known as the 'power stage') sufficient power to connect loudspeakers directly to its output, both without requiring extra amplification. Some touring bands have used the appearance of a large array of guitar amplifiers for aesthetic reasons. Some of these arrangements include one or more actual guitar cabinets, while others do not. In reference to a photograph (left) taken during an Immortal gig, showing that what appeared to the audience to be a wide formation of equipment was actually only the fronts of amplifiers mounted on a large frame, Gizmodo writer Rosa Golijan investigated the phenomenon and found that it was "not too uncommon".[2] Another arrangement, often used for public address amplifier systems, is to provide two stages of amplification in separate units. First a preamplifier or mixer is used to boost the instrument output, normally to line level, and perhaps to mix signals from several instruments. The output from this preamplifier is then connected to the input of a power amplifier, which powers the loudspeakers. Performing musicians that use the "two-stage" approach (as opposed to an amplifier with an integrated preamplifier and power amplifier) often want to custom-design a combination of equipment that best suits their musical or technical needs, and gives them more tonal and technical options. Some musicians require preamps that include specific features. Acoustic performers sometimes require preamps with "notch" filters (to prevent feedback), reverb, an XLR DI output, or parametric equalization. Hard rock, metal, or punk performers may desire a preamplifier with a range of distortion effects. As well, some musicians have specific power amplifier requirements, such as low-noise design, very high wattage, the inclusion of limiter features to prevent distortion and speaker damage, or biamp-capable operation. With the "two-stage" approach, the preamplifier and power amplifier are often mounted together in a rack case. This case may be either free-standing or placed on top of a loudspeaker cabinet. If many rack-mounted effects are used, the rack may be a large unit on wheels. Some touring players need several racks of effects units to reproduce on stage the sounds they have produced in the studio. At the other extreme, if a small rack case containing both preamp and power amp is placed on top of a guitar speaker cabinet, the distinction between a rack and a traditional amp head begins to blur. Another variation is to combine the power amplifier into the speaker cabinet, an arrangement called a powered speaker, and use these with a separate preamp, sometimes combined into an effects pedal board or floor preamp/processor. Preamplifiers are also used to connect very low-output or high-impedance instruments to instrument amplifiers. When piezoelectric transducers are used on upright bass or other acoustic instruments, the signal coming directly from the transducer is often too weak and it does not have the correct impedance for direct connection to an instrument amplifier. Small, battery-powered preamps are often used with acoustic instruments to resolve these problems. [edit]Distortion, power, and volume [edit]Power output For electric guitar amplifiers, there is often a distinction between "practice" or "recording studio" guitar amps, which tend to have output power ratings of 20 watts down to a small fraction of a watt, and "performance" amps, which are generally 50 watts or higher. Traditionally, these have been fixed-power amplifiers, with a few models having a half-power switch to slightly reduce the listening volume while preserving power-tube distortion. The relationship between perceived volume and power output is not immediately obvious. A 5-watt amplifier is perceived to be half as loud as a 50-watt amplifier (a tenfold increase in power), and a half-watt amplifier is a quarter as loud as a 50-watt amp. Doubling the power of an amplifier results in a "just noticeable" increase in volume, so a 100-watt amplifier is held to be only just noticeably louder than a 50-watt amplifier. Such generalizations are also subject to the human ear's tendency to behave as a natural compressor at high volumes. Power attenuation can be used with either low-power or high-power amplifiers, resulting in variable-power amplifiers. A high-power amplifier with power attenuation can produce power-tube distortion through a wide range of listening volumes. Speaker efficiency is also a major factor affecting a tube amplifier's maximum volume. For bass instruments, higher-power amplifiers are needed to reproduce low-frequency sounds. While an electric guitarist would be able to play at a small club with a 50-watt amplifier, a bass player performing in the same venue would probably need an amplifier with 200 or more watts. [edit]Distortion and volume Distortion is a feature available on many guitar amplifiers that is not typically found on keyboard or bass guitar amplifiers. Tube guitar amplifiers can produce distortion through pre-distortion equalization, preamp tube distortion, post-distortion EQ, power-tube distortion, tube rectifier compression, output transformer distortion, guitar speaker distortion, and guitar speaker and cabinet frequency response. Distortion sound or "texture" from guitar amplifiers is further shaped or processed through the frequency response and distortion factors in the microphones (their response, placement, and multi-microphone comb filtering effects), microphone preamps, mixer channel equalization, and compression. Additionally, the basic sound produced by the guitar amplifier can be changed and shaped by adding distortion and/or equalization effect pedals before the amp's input jack, in the effects loop just before the tube power amp, or after the power tubes. [edit]Power-tube distortion Power-tube distortion is required for amp sounds in some genres. In a standard master-volume guitar amp, as the amp's final or master volume is increased beyond the full power of the amplifier, power tube distortion is produced. The "power soak" approach places the attenuation between the power tubes and the guitar speaker. In the re-amped or "dummy load" approach, the tube power amp drives a mostly resistive dummy load while an additional low power amp drives the guitar speaker. In the isolation box approach, the guitar amplifier is used with a guitar speaker in a separate cabinet. A soundproofed isolation cabinet, isolation box, isolation booth, or isolation room can be used. [edit]Volume controls A variety of labels are used for level attenuation potentiometers in a guitar amplifier and other guitar equipment. Electric guitars and basses have a volume control to attenuate whichever pickup is selected. There may be two volume controls in parallel to mix the signal levels from the neck and bridge pickups. Rolling back the guitar's volume control also changes the pickup's equalization or frequency response, which can provide pre-distortion equalization. The simplest guitar amplifiers have only a volume control. Most have at least a gain control and a master volume control. The gain control is equivalent to the distortion control on a distortion pedal, and similarly may have a side-effect of changing the proportion of bass and treble sent to the next stage. A simple amplifier's tone controls typically include passive bass and treble controls. In some cases, a midrange control is provided. The amplifier's master volume control restricts the amount of signal permitted through to the driver stage and the power amplifier. When using a power attenuator with a tube amplifier, the master volume no longer acts as the master volume control. Instead, the power attenuator's attenuation control controls the power delivered to the speaker, and the amplifier's master volume control determines the amount of power-tube distortion. Power-supply based power reduction is controlled by a knob on the tube power amp, variously labeled "Wattage", "Power", "Scale", "Power Scale", or "Power Dampening". [edit]Use with other instruments Musicians often run sound-sources other than guitars through guitar amps. For live performances, synthesizers and drum machines or keyboards are often put through guitar amps to create a richer sound than can be obtained by patching the direct-outs right into the PA system. Guitar amplifiers can add tonal coloration, roll off unwanted high frequencies, and add overdrive or distortion. Deep Purple's Jon Lord played his Hammond Organ through a distorted Marshall amp to create a sound more suitable for heavy rock. String instruments and vocals are also put through guitar amps to add distortion effects. Some blues harp players also use guitar or bass amps to create a warmer overdrive sound for their harmonica playing; 1950s-style "tweed" amps are often used for this purpose, such as Fender Bassman combo amps. Recording engineers occasionally run pre-recorded parts through miked guitar amps, a process called re-amping. When a guitar part is recorded "dry" (e.g., without effects or distortion), straight into the mixing board for a recording, this gives the producer and mixing engineer much more flexibility to create new re-mixes or new tones from the recording. If a guitar player records an electric guitar part that is run through a chorus pedal and a distortion pedal, there is little that can be done at the "mix-down" stage to change the sound of this recording, beyond "tweaking" the equalization and modifying the level. Since re-mixing or mixdown can take place weeks, months, or even years after the original recording session, it may be impossible to have the guitarist come in to re-record a new part. If the dry guitar sound is recorded, though, the mixing engineers can add any effects they want to the signal and then re-play it through a miked guitar amplifier which is being recorded. The effects, amplifiers, cabinets, and miking processes can be changed to any combination. When a dry guitar has been recorded, it can be a useful tool for "updating" an older recording. For example, if a band wants to re-release a 1980s-era album on which the guitar has a very dated 1980s sound, with heavy flanging and artificial-sounding electronic distortion, the band can update the guitar sound by re-amping the dry signal and using 2000s-era effects. Mixing guitar amp signals with other signals is also done by some musicians. Chris Squire of Yes produced his bass guitar sound by playing through a guitar amplifier with its bass turned down, treble turned up, and volume turned up well into distortion; the miked guitar speaker signal was then mixed with a direct-input (DI) signal, a technique that has been used for processing synth keyboards as well. A bass guitar can also be played through a bass amp in parallel with a distorted guitar amp by using a DI box; the bass amp provides the low frequencies, while the guitar amp - which is not capable of reproducing the lowest frequencies of the bass guitar- emphasizes the upper harmonics of the instrument's tone. [edit]See also List of guitar amplifier manufacturers Power attenuator (guitar) Instrument amplifier Bass instrument amplification Electronic amplifier Valve sound Guitar effects Guitar speaker cabinet Re-amp [edit]References ^ Note: This style of amplifiers should not be confused with the brand of guitar and bass amplifiers called Acoustic, still available in second-hand music stores.) ^ Golijan, Rosa (22 September 2010). "The Concert Speakers Are A Lie". Gizmodo. Retrieved 16 January 2011. [edit]Further reading Weber, Gerald, "A Desktop Reference of Hip Vintage Guitar Amps", Hal Leonard Corporation, 1994. ISBN 0964106000 [edit]External links Wikimedia Commons has media related to: Guitar Wikibooks has a book on the topic of Guitar/Buying an amplifier Guitar portal Duncan's amp pages - All sorts of information, especially on tube guitar amplifiers. AX84 - Learn to build your own tube guitar amplifier with free schematics and plans. Amplified Parts Tech Corner - Technical resources and diagrams for modifying and repairing guitar amps Photos of Vintage Tube Guitar Amplifiers Rebuilding a Fender Deluxe Reverb Tube Amplifier - Information on modification and conversion of amplifiers [show]v · d · eGuitars [show]v · d · eMusic technology

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