Richard reports: This system has a strong amplified sound with plenty of creamy tube distortion, suitable for rock and Chicago blues styles. It can easily be used with a PA system to scale up from practice session sound levels to a stage of almost any size. In other words, it’s a relatively inexpensive, high quality setup, perfect for beginners (and pretty damn good for pros, too). Here’s the stuff: The Amp: Crate VC508. The VC508 is a 5 Watt Class A amplifier. It ships with a 12AX7 tube in the preamp stage. You’ll need to pull the preamp tube and replace it with a 12AU7 tube. The preamp tube can easily be accessed by disconnecting the wire leads to the speaker, removing four Phillips head screws, and pulling the amp section. It takes about 10-15 minutes. The 12AU7 tube gives the VC508 a smoother and more controllable distortion, and turns it into a great little harp amp. The VC508’s 5 watts are not enough to play even small clubs. With the addition of a 1/4” instrument cable, you can use the VC508’s line out to connect it to a hi-Z input on any PA system. Once you’re into the PA, you can get as loud as you like (or as loud as the soundman will permit), and the VC508 can be used to control the tone. It works very well, and it’s very easy to do. You might also consider spending a few bucks to put metal corners on this amp all the way around; the case is made of particle board, and it's not as durable as plywood. The Effects: The VC508 has no built-in reverb, and you’ll need either a reverb or an analog delay to get that blues sound. Good inexpensive reverb choices include the ART FX-1 and the Alesis Nanoverb. Note: there are lots of inexpensive used reverbs around right now, but I recommend that you consider the newer devices first. Reverbs are essentially microchips, and the newer models are a lot quieter and more powerful than the older ones, and not much more expensive. There are plenty of stompbox analog delays by vendors like DOD, Ibanez, Boss, etc. that work very well for blues, and most of them sell for well under $100 (some as low as $40). One thing working in your favor here is that blues mics like the JT-30 and Green Bullet don’t have much in the way of high-frequency response (that’s why they sound so good on blues), so the relatively restricted high end on stompbox analog delay pedals is not an issue. Avoid digital delays if you’re after a blues sound; the sound they produce is too clean for blues. If you want to get into more expensive stuff, the Lexicon MPX-100 signal processor reverbs and delay programs are amazing. The Mic: For blues, use an Astatic JT-30 (note: Hohner sells this mic under the name “Blues Blaster”) or a Shure Green Bullet. Many players also like the mics made by Frank Ruskin, which use elements similar to Green Bullets or Astatics, but are lighter in weight, and also typically priced somewhat lower than Shures and Astatics. Ruskin can be contacted at 724-775-5230, or via email at micdaddy@ccia.com. For rock, a decent vocal mic such as the Shure SM-57 or 58, or even a relatively inexpensive vocal mic such as the Electrovoice MC300 (my personal low-cost favorite), will do a very good job. The Shure mics are used by many pros, including Rob Paparozzi and Clint Hoover. Be SURE to try any mic before you buy it; we recommend that you go to the store with money in hand and try every mic in your price range, preferably through the amp that you’re going to use the mic with. Thanks!
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Richard
Hunter is the author of "Jazz Harp," from Oak
Publications. Richard's recorded works include "The Act
of Being Free in One Act," which is the first full-length
CD of works for unaccompanied harmonica ever recorded,
and "The Second Act of Free Being," a CD that takes solo
harmonica to a new level. Check 
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