I’m going to tell you something you already know: People like different things. Shocker, right? Apples or oranges, cake or pie, Strat or Les Paul … the list goes on. And it seems the more polar opposite things are, the more likely a person may gravitate toward one choice and show disdain for the other. Like the English and Scottish in Braveheart, guitarists can end up on opposing sides ready to do battle over such life-or-death issues as whether to use tube or solid-state amps. That said, I urge us all to agree on one thing: Amplifiers don’t make sound without speakers. Even the simplest amplifier can be an extremely complex piece of electronics, but a speaker is a very basic electromagnetic motor (Fig. 1). When you apply signal to a speaker, the voice coil begins to move in and out in response to that signal. As a result, the voice coil creates a magnetic field of its own, which works against the magnet and tries to demagnetize it. However, the magnet generates energy in the opposite direction, and it becomes a back-and-forth struggle. Gluing a cone to a moving voice coil harnesses this motion and makes it audible. That’s the basic idea behind a speaker.

A voice coil is like an electric motor. The bigger the voice coil and the more wire used, the more torque or pulling power you have to move the cone. With the proper match of components, you can get more sensitivity, wider frequency response, and more power-handling ability. The size and type of magnet also affects a speaker’s sound. There are two major types of magnets used in loudspeakers: alnico and ceramic. These magnet types differ and this difference affects a speaker’s overall tone. Let’s take a closer look.

The first crop of speakers in the early 1950s used alnico magnets, which is why some people say they sound more “vintage” than speakers built with ceramic magnets. An alloy comprising aluminum, nickel, and cobalt, alnico demagnetizes relatively easily, which gives a smooth response with compression at higher average volumes.

As the voice coil’s effect lowers the available magnetic field of the alnico magnet, the speaker becomes less efficient, and the voice coil moves less. The physics of it is that the small magnets near the surface of the magnet poles (called “domains”) begin to change state, or flip directions. The result is smooth compression, which is the same kind of operating-curve compression that occurs in a tube amplifier.

During the 1960s, the popularity of speakers with ceramic magnets increased. The most common type of ceramic magnet is strontium ferrite, which demagnetizes much less easily than alnico. The domains change state much faster, so there is little to no compression as the voice coil moves to its mechanical limit. Because the ceramic magnet isn’t introducing compression, the result is a cleaner sound in comparison to alnico.

Some folks might liken the difference between alnico and ceramic speakers to the difference between tube and solid-state amplifiers, where one compresses smoothly and the other gives all it has and then clips hard. I don’t know that it’s a fair comparison because the differences between the speaker types aren’t as starkly contrasted as the differences between the two amp types. Furthermore, by varying the size of the magnet, it’s possible to build very efficient alnico speakers, as well as very inefficient ceramic speakers. Now that you know the reasons why the two magnet types do what they do, you can decide which side of the battlefield you want to be on. Or you can decide that it doesn’t have to come to war at all. That maybe it’s best to have each type of speaker, so you can be ready for whatever tone might be necessary at any given time. Some players even mix alnico and ceramic speakers in the same cabinet. Though different in the way they operate, their purpose is the same: to supply energy to the motor, so the cone will move and thus everyone will hear whether you’ve been practicing or not.

Division of Laura Lee’s Viktor Lager on his No. 1 concern when playing live. Plus—his latest Mascis-inspired Jazzmaster mod.

Gibson partners with the Everly Brothers family for a limited-edition acoustic guitar equipped with AA flame maple and capped with dual pickguards.

Equipped with a AA flame maple back and sides paired with a thermally aged Sitka spruce top, the guitar is capped with the dual pickguards that The Everly Brothers made famous. The Everly Brothers SJ-200 features a stunning Ebony finish and also has essential SJ-200 cosmetic appointments including classic mother-of-pearl graduated crown inlays on the rosewood fretboard, as well as a “Moustache” bridge with four bar mother-of-pearl inlays. The bridge saddle, nut and bridge pins are bone, while Gold Grover Rotomatic tuners ensure solid tuning stability; an SJ-200 hardshell acoustic guitar case is included.

Alongside the release of the SJ-200, on Friday, June 17, the 17-track compilation album HEY DOLL BABY, will be released worldwide via Warner Records. On Father’s Day, Sunday, June 19, 2022, the star-studded virtual concert, “Hey Doll Baby Festival: Celebrating The Lives & Music Of The Everly Brothers” will feature the legendary songs of The Everly Brothers will air in full on Sunday, June 19 at 4 p.m. ET/1 p.m. PT on the official Everly Brothers’ YouTube, Facebook, and Website.

Beginning June 14, Gibson will release the limited-edition Everly Brothers SJ-200 acoustic guitar and the Everly Brothers x Gibson capsule apparel collection, onwww.everlybrothers.com and www.gibson.com. $7,999.00 USD. Only 30 of the Everly Brothers SJ-200 guitars will be available.

Going from one speaker to two can add depth, dimension, and punch. Here are 10 from across the stylistic spectrum.

This oversized closed-back 2x12 aims to emulate the response of a 4x12 with added low-end punch and can be preloaded with a handful of different speaker options.

Starts at $432 street zillacabs.com

This newly designed cab is up to 35 percent lighter than a normal 2x12 set up. It also has a removable rear panel and comes loaded with Celestion Zephyr speakers.

Modern metal-ers will rejoice with this 120-watt closed-back cab that is constructed with marine-grade Baltic birch. The rear-mounted Celestion V30 speakers round out the package along with the twisted jute-dipped grille filters.

The standout feature of this cab are the side vents, which give your sound a wider feel. It’s constructed with 13-ply void-less Baltic birch and is available with either customized speaker options or totally bare.

Classic styling meets modern construction in this retro-flavored vertical cab. The Celestion Seventy 80 speakers offer 160 watts of power, and the angled setup is decidedly British.

You can’t miss the trademark Orange vibe of this beefy horizontal 2x12 cab. Brit-style tones are right at home with a pair of Celestion Vintage 30 speakers and a closed-back design.

For fans of that unmistakable chime, this Vox cab not only matches the vibe of an AC30 but spreads the sound out a bit with its open back. A pair of Celestion G12M speakers aim to offer clarity and warmth.

Designed to King Eddie’s demanding specs, this straight-front cab is a powerhouse and features old-school tilt-back legs. Inside is a pair of Celestion G12H speakers and a very handy built-in head-mounting mechanism for the EVH 50-watt head.

As a tribute to the sound of late-’60s rock guitar, the PRS HDRX line is vintage flavored and full of vibe. This closed-back cab features the decidedly British Celestion G12H-75 Creamback speakers and poplar plywood construction.

The wood wizards in the cab shop at MojoTone offer a mind-boggling number of options, right down to the piping and Tolex. This one comes stocked with Celestion G12M-65 Creamback speakers and an oval-ported rear panel.