The Fender Pro Junior Combo really is the ultimate beginner's guitar amp. It's small, yet loud enough to be used in a full-band situation. It's simple to operate, yet sounds great. And, it's an "all-tube" amp, yet costs less than most other tube amps.

The Price Point:

Coming in under $400, the Pro Junior costs more than some of the cheapest beginner amps, yet considerably less than most full tube amps. Although, to new guitarists, this may seem like a considerable cost (perhaps even more than the guitar playing through it), keep in mind this is an amp that will be useful for years. Plus, if the time comes and you want to sell the amp, the Pro Junior should be able to fetch close to what was paid for it.

More on the Fender Pro Junior:

An important consideration when buying a beginner guitar amp is the situations it will be used in. While any amplifier will provide enough volume for "bedroom practice", most of the cheap, tiny beginner amps can't provide adequate volume for playing with others (especially if there are drums involved). As a result, parents end up buying "upgrade amps" a few months after their teen has begun playing guitar. I've witnessed this firsthand with my students countless of times over the years - sometimes, I'm just unable to talk parents into thinking "big picture", and it invariably ends up costing them.

At approximately 15"x15"x9", the Fender Pro Junior Combo is small, but not as tiny as some of the amplifiers you'll see at your local music store. Of course, the Pro Junior is bigger for a reason - it houses a bigger speaker than the average small beginner guitar amp (10" versus the usual 8"). Coupled with 15 tube watts of power, this provides the Fender Pro Junior with plenty of volume - enough for jamming with friends, and probably even enough for playing in small clubs.

Fender took a decidedly no-frills approach to the Pro Junior - the amplifier features an on/off switch, a volume control, and a tone control. And, that's it. This might be problematic if the Pro Junior didn't sound great to begin with. But it does. Play a guitar through the Pro Junior at quieter volumes, and the sound is clean and warm. Turn up the volume, and the guitar sound fattens up even more, and starts to "break up" (aka distort... a generally desirable guitar sound). It's a simple, straightforward design that yields great sounding results.

As the design is so bare-bones, there are features some guitarists will miss. There's no reverb, for example. And, you can't get that thick, chunky, heavily overdriven sound without the use of a guitar pedal. Minor quibbles, in my opinion, especially in light of the great sound coming out of an amp in this price range.

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Fender® Pro Junior™ Tube Amplifier List Price: $549.99

Description

Guitar Combo Amp. Made by Fender®.A little tube amp with a big heart, the Pro Junior is a small amp capable of delivering Huge Tone!A pair of EL-84's, "Clean to Drive" volume, and a tone control keep the Pro Junior pure and uncomplicated. A favorite in recording studios! Specifications: SERIES Hot Rod Series TYPE All Tube OUTPUT 15 watts into 8 ohms OHMS 8 ohms SPEAKERS 1-10" Special Design Eminence 8 ohm, 30 watt Speaker CHANNELS Single Channel FEATURES Chrome Panel, Vintage Pointer Knobs CONTROLS Volume, Tone COVERING Black Textured Vinyl with Silver Grille Cloth WEIGHT 20 lbs DIMENSIONS Height: 14.5", Width: 15.25", Depth: 8.75" POWER HANDLING N/A TUBE COMPLEMENT 2 X 12AX7, 2 EL84, Solid State Rectifier

Features

• Pure and uncomplicated all-tube amp
• Solid State Rectifier
• 1-10" Special Design Eminence 8 ohm
• 2 x 12AX7 Tubes

Reviews

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Lunchboxes are compact vacuum-tube amps, usually carrying between two and six tubes inside. They run at low power, usually between 5 and 15 watts. Priced between $400 and $800, they are far less expensive than most tube amps. Just plug one into a speaker cabinet (or two, or four) and you’ve got a full guitar rig capable of producing a wide variety of sounds and tones.
The amp credited with kicking off the lunchbox craze is the Tiny Terror, a 15-watt amp made by British manufacturer Orange that debuted about two years ago.

The sparks generated by the Tiny Terror have grown into a raging brush fire. The expo floor at NAMM, the musician’s trade show which took place here this past weekend, was packed with more lunchboxes than a grade-school cafeteria.
Dozens of manufacturers have jumped on the bandwagon. Big names like Mesa, Vox and Blackheart have put out their own models, as have smaller companies like Hayden and VHT and boutique manufacturers like Burriss.

Lunchboxes produce a sparkling, lively tone even when cranked up. Dialing in some dirtier sounds give things a menacing and hugely satisfying edge.

“It sounds awesome,” says Derek Mather, a 14-year-old phenom from the Santa Cruz, California, band Almost Chaos who was picking some guitar licks (.mp3) on a Tiny Terror at the Orange booth (pictured at top). “It has a really amazing sound for such a small amp — way better than my big Mesa Boogie.”

The best way to get the warm, beefy tone of players like Hendrix, Slash or Clapton is by pushing an amp to its limits. But playing big, fancy amps cranked all the way up is hardly a practical solution for the bedroom.
Low-powered amplifiers reach their limits at much lower volumes, and when they get loud (and make no mistake, these things can get loud enough to cause genuine pain) they maintain the rich and full sound of a much more powerful — and more expensive — amp.
The lunchbox is perfect for the player who wants to be able to sound like AC/DC or Hound Dog Taylor or anyone in between at any volume — all with one low-priced amp.

“In most situations, all you really need is a 15- or 30-Watt amp,” says David Jenkins of True Tone Music, a vintage guitar store in Santa Monica, California. It’s especially true in bars or smaller venues where most musicians play, or even in bigger places where the amps are properly miked, he says.

One of the best-sounding lunchboxes of the dozen we played is being made by Bob Burriss of Lexington, Kentucky. His company, Burriss Amps, makes two models, both around $1,000. The Dirty Red is made for crunchy, distorted lead sounds, and the Royal Bluesman produces glassy, warm blues tones.

Burriss’s amps are hand-wired, meaning all the interior connections are soldered by hand. It’s what the famous British amp companies of the 1960s did, and among amp connoisseurs, its a term synonymous with superior workmanship. Most of the lunchboxes we played at NAMM are hand-wired.

Hand-wiring is more expensive than using machine-printed circuit boards, but factories in China and Korea have been quickly training their workers to hand-wire. As a result, companies have been able to turn out Asian-built hand-wired lunchboxes at the cost of last year’s machine-built amp. VHT, which manufactures its amps in a factory near Shanghai, sells its two-tube, 6-watt lunchbox for only $260.

VHT recognized the trend building midyear and brought its own lunchbox from design to production in only three months.
Lunchboxes do have some drawbacks. For one, they are just the head unit — the speakers are separate. Touring musicians sometimes just carry heads and arrange to have speaker cabinets supplied by the venue, and some prefer to use different speakers for different song styles. Still, that’s not very helpful for guitarists stuck in the basement.

But if you want a low-powered amp with a speaker built in, talk to amp designer Steve Carr of Carr Amplifiers in Pittsboro, North Carolina. A dealer first approached him about building a small, low-powered amp in 2002.
“I originally thought it was a bad idea,” he says.

But he went ahead with it, debuting the Carr Mercury in 2003. It was one of the first amps that came with a built-in attenuator, so you could switch between four settings — 8 watts, 2 watts, one-half and one-tenth of a watt — as you moved from the rowdy gig to your apartment with the baby sleeping in the next room.

The Mercury, which costs $2,100, has since become his biggest seller. He now also makes the 3-watt Raleigh.
He has no plans to build a lunchbox, but he maintains a positive attitude about the craze he helped ignite.
“They’re versatile, reliable and they give you a wide range of sounds,” he says. “Those little guys are great.”

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Within this issue, the Vox VT30 was named the best overall cheap amplifier scoring an impressive rating of 91%.
For such a low price, the VT30 offers an impressive number and range of amp models. The 22 amp models cater for all tastes and includes high-gain, boutique and vintage amp models.

Guitar & Bass Magazine’s reviewer commented “if you want convincing digital amp models, a range of effects and an incredible range of tones, the VT30 is the all-in-one solution.”

On top of this impressive range of amp models, the VT30 also has 12 digital effects and an independent reverb control.
With so much to offer, the quality of the different amps and effects may be questioned and subject to heavy scrutiny.
Thankfully however, as Guitar & Bass Magazine's review wrote, "versatility doesn't come at the expense of tone."

"The modulation effects are fat and lush, the delays blend nicely, and the tremolo and rotary are very convincing."
The VT30 comes loaded with 66 presets. You can also save your own 8 favorite settings onto the amplifier.

A common criticism of amp modeling is the fact that the tones often sound artificial and lack the warmth of a real valve amplifier.
The VT30 attempts to combat this problem through combining its modeling technology with a Valve Reactor circuit (within which there is a 12AX7 valve).

Vox's VFS5 Footswitch can be connected to the VT30 for further control.

Another highly praised amp within this category was the Laney LX35 - a two channel amplifier that offers tones ranging from super clean to heavy distortion.

If you're looking for a low cost amplifier with wide tonal capabilities, then you need to make sure that you check out the Vox VT30 and the Laney LX35.

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